Archive for Teutonic Metal

Legacy of Vydar – A Hundred Miles

Posted in CD, Metal with tags , , , , , , , on 30th August 2012 by Nico Solheim-Davidson

Legacy of Vydar
A Hundred Miles
Released 16th October 2011
Death Metal
Self-Released

Hailing come Germany, come death metal sextet Legacy of Vydar. Differing themselves from other bands of the genre, LoV bring with them a three guitar assault on the ear drums, almost like a death metal version of Iron Maiden. Their most recent album, A Hundred Miles was released almost a year ago.

My War, the first track on the album, has a very industrialesque sound that screams from the guitars, while the drums, bass and obviously the vocals, throw in a very powerful, very epic death metal sound. The riffs collide back and forth like raging waves smashing against cliffs. The title track, A Hundred Miles, unleashes a melodic styling upon an unsuspecting listener, almost coming across like an Amon Amarth track.

Too Far really did take me by surprise, beginning with a very melodic, very calm riff that was carried along by a heavier riff and callous drumming before it transforms into a howling beast of aggressive riffs and demonic vocal work. My Soul Unleashed is another Amon Amarth-styled track, only somewhat lacking in energy, which is a shame as I think this track would make for a decent mosh pit anthem. No Remorse displays a use of very intelligently performed riffs that come blasting more fierce and terrifying than the A-bomb. The vocals add a beastly sound that seems like the last piece of the puzzle in this track, completing and making it one of the stand out tracks of the album.

Hope And Despair is a very calm instrumental, that eases you into that false sense of security before the violent wails of The Trail begin charging like a bull that’s just seen red. Vidar, which is undoubtedly about the Norse god of the same name, is another stand out track on the album, displaying influences from varying Viking metal bands while sticking to the band’s own sound at the same time, fusing everything together into a masterpiece of pure death metallic goodness.

Hold On pulls no punches when it comes to melodic riffs and rhythmic drumming. The band have carefully balanced out the aggressive vocals and melodic music in a beautiful and artistic manner on this track, keeping that balance there with the tempo changes as well. For such a bloodthirsty sounding track, Still Alive, sounds subtly cheery and hopeful at the same time, as its violent sounding riffs get the blood flowing. Not The End is certainly an ironic title for a title that is the end of the album. The riffs scream out eerily familiar to Twilight of the Thunder God, invoking a truly epic sound that really gives the album a brilliant end.

Germany is renowned for its metal scene and with Legacy of Vydar on the scene, its going to get much better. Legacy of Vydar are one of the few death metal bands that really do proper melodic riffs and A Hundred Miles really displays each member’s talent as well as the ever-growing sound of the band, so if you like a clean, crisp sound topped with guttural growls and fierce riffs, A Hundred Miles is one for your collection. Hopefully we’ll hear more from these hard rocking Teutonic warriors of metal very soon.

4.7/5

Nico Davidson

Interview: Ablaz [2011]

Posted in Interview with tags , , , , , , , , on 30th August 2011 by Nico Solheim-Davidson

Nico has a chat with Ablaz [Bassist for Sarah Jezebel Deva and Gods Army] about the upcoming SJD tour, his career with SJD and Gods Army and alcohol.


Nico: Thanks for taking the time to talk with us today, Ablaz. I hope you’re in good health. You’re due to tour the UK with Sarah Jezebel Deva in October. How are you feeling about this? Excited? Nervous?

Ablaz: You’re welcome. I feel good and I can’t wait to hit the stage again! Our last show was in June in Germany on the Wave-Gotik-Teffen and that’s way too long ago. I’m nosy on how the fans react to our new songs live. We only played some of them on a few festivals and I loved that feeling.

N: Sounds like the stage is like your second home then. Do guys have any plans for festivals next year?

A: Oh yeah it really is and I guess you can see that when you watch our live show. I couldn’t be a studio musician, there’s no special feeling for me – I do music because I love to play gigs and for the after show parties of course. Even after a lot of live shows the feeling is still unbelievable. When I write new songs, I always imagine how they work live. Unfortunately I don’t have any news about festivals next year, but I hope we’ll play some nice ones! Guess the planning starts after our UK tour in October.

N: Well, the tour sounds like it’s going to be awesome. This next question is from one of our readers. What’s it like playing music with Sarah?

A: I guess Sarah will read this, so I have to be careful… [laughter] – I’m joking. This is one of the most asked questions and I have to admit Sarah really is a nice person. Before I ever met her, I was a bit unsure if she may is arrogant, complicated or whatever. But when I met her and especially when we spent a lot of time on our first tour together, I just realised that my fear was unnecessary. I love to work with Sarah and of course also with the rest of my band. I was listening to Cradle of Filth when I was 14 years so at the  beginning it was a kind of strange feeling, playing with someone you  know from other well-known records. But now it’s more than just a musician relation, it’s friendship, too. And when I listen to her old Cradle of Filth stuff now, I always think, that OUR new songs with real lyrics fit much more to Sarah then “ohhh” and “ahhhh”.

N: That’s true. It’s good to know that Sarah is able to use her vocals more freely now. Speaking of music, do you feel that the music you play with Sarah is different to the sort of stuff you play with Gods Army?

A: Yeah it definitely is! With SJD we’re doing Symphonic Metal, God’s Army is a kind of Industrial Rock. Also in God’s Army I don’t play bass, I play the guitar. So there are no overlaps, nor in the music style nor in song writing. And I love doing both.

N: Speaking of Gods Army, a quick Google search on them usually provides our readers with information about the band written in German – A language that not all of our readers can understand. Is there any information you could give to our readers about the band?

A: The most important point: We definitely should do our new homepage in German and English… I joined Gods Army in 2007, but due to BIG line-up problems and a few female vocalist changes we still haven’t released our first album. In 2010 I was very busy with SJD, but now we’re working again on our GodsArmy release and hopefully will have a release next year. If you like to be up-to-date just add us on Facebook: “GodsArmy”.

N: I’m sure your fans will be eagerly awaiting any news on the GodsArmy release – As will us [Valkyrian Music]. This next question is a bit random, on the official SJD website, your favourite beer is listed as “Traugott Simon”. How does British beer compare to it, in your opinion?

A: [laughter] The people who know that German beer will have a laugh now. It’s one of the cheapest beer in Germany – 8 litres for about 5 Euro, that’s about 4 pound – and I love it. Your next question is an easy one: Never ever compare German beer with others, in my opinion the others can’t win. When I came to our very first SJD tour, I tried a lot of new British beer in the pubs every night. At the end of the tour I was asked which is the best British beer. I answered: “There really is one beer I like. It’s much better then the rest…it’s called Foster’s”…  For those who don’t know: Foster’s is an Australian beer. But every beer is better than “no beer”.

N: I’ll drink to that! Or at least I will when I go to the pub. Just a few more questions now. This is one is somewhat random, if you could take the soundtrack from any movie and replace it with your own music, which movie would it be? And why?

A: I guess I wouldn’t replace any film soundtrack or at least I have no idea right now. If  I would, the music and the lyrics should fit into the movie. And I love Zombie movies most, but Sarah’s lyrics are not about zombies [laughter]. But I think “The Corruption Of Mercy” would be a great soundtrack for a sad movie, with a lot of rain.

N: Hmm, true. Okay, final question and once again, thank you for taking the time to talk with us. Are there any bands on the UK and German underground music scenes that you’d recommend to our readers?

A: I have to admit, I don’t listen much to the underground scene at the moment, except for some black metal bands [Nargaroth and Fäulnis]. But I guess I will see some nice supporting bands on our next UK tour in October and I also hope to see many of you there!

Ablaz will be touring with Sarah Jezebel Deva in October. For tour dates, click here. More for info on the upcoming tour, check out the Official Sarah Jezebel Deva Facebook page.

Also, to check out Ablaz’s other band, GodsArmy, click here.

Euphoreon – Euphoreon [2011]

Posted in CD, Metal with tags , , , , , , , , , , , , on 10th June 2011 by Nico Solheim-Davidson

Band: Euphoreon
Album: Euphoreon
Release year: 2011
Genre: Death Metal

“Euphoreon” is the self-titled debut album of two piece German-New Zealander death metal project “Euphoreon”. The band originally started as a solo project formed by Matt Summerville from New Zealand. “Euphoreon” have been described as having influences of European and Scandinavian metal with “melodic hooks” and “harsh vocals”.

The first track of the album is the optimistically named “Every Cloud Has A Silver Lining”. The intro riff is very solemn and turns melodic with the introduction of a more technical riff. Soon after, the track increases its pace as the drums join in. The guitar riff brings a more uplifting sound to the track, along with the use of synths. The vocals are harsh and aggressive. The most impressive thing about this track would have to be the intelligent composition of the guitar riffs and the the guitar solo, whilst having a power metal element to it, is mind blowing. Already, “Eurphoreon” is proving to be masterpiece.

”Before The Blackened Sky” is the second track of the album, beginning with a fast, brutal and melodic riff combined with some technical drum work. The synth sections are similar to that of a Children Of Bodom track. The guitar riffs can only be described as face melting brutality. The vocals make for some impressive sections, such as the whispered styled screams and the clean vocals. The third track, “Forever Being”, has an amazing piano medley for an introduction. The track only gets better when the guitars make their appearance. Their is another use of clean vocals on this track, which gives it more of a symphonic power metal feel, however the harsher vocals can be heard on this track as well. This track seems to be more keyboard dominated, though the guitar riffs are heavy and brutal, which is enough to keep the listener happy.

Next is “Eleventh Heaven” which begins with a calm acoustic riff combined with the light tapping of the hi-hat and a piano medley. The introduction of the electric guitar riff makes it seem like this is going to be a ballad-type of song, however the drums soon say otherwise when they turn more fast paced and brutal. A more aggressive guitar riff soon follows with a more epic synth section and brutal vocals. Just over half way through, the track soon turns slow and calm again with some clean vocals been featured. However, it is only the calm before the onslaught of a melodic solo. This is certainly one of the best tracks on the album. “Where Dead Skies Dwell” blasts its way next, sounding more darker than the previous tracks, which seems only fitting considering the song title. The riffs are more aggressive and the drums are more heavy as well. When the vocals seem to be more hostile. One of the more impressive sections of this track would certainly be the guitar solo.

A calm and soothing piano medley introduces “From The Netherworld”, setting a very solemn atmosphere. The solemn atmosphere is dispersed when a heavy but melodic riff rings out, increasing the tempo of the track. The drums are masterfully composed and played on this track and the vocals are more warlike. The second to last track is “Starnight Rider”. The intro is acoustic, which in a way is fitting for the track though the brutality and aggression of the track soon dominate. This is certainly one of the more fast paced tracks on the album, which makes it that much more enjoyable. There is a use of keyboards and orchestration in parts of the track, making for a very dramatic sound. It ends on a very solemn note. The last track, “Road To Redemption”, starts with a strange sounding organ intro, which seems to take away from the brilliance of the album so far. Thankfully the guitars soon replace it, with a military styled drum pattern. The riffs are extremely melodic and the vocals are as aggressive as they can get, it seems. The keyboard sections are beautifully composed. Cleans vocals can be heard as well, about half through alongside the organ medleys. The track comes to a brilliant and epic end.

”Euphoreon” have proved themselves to be quite the musical genius’ with their debut album “Euphoreon”. It has everything a metal fan could ask for, riffs with aggression and melody, technical and intelligent drum work, epic synth and keyboard sections and great vocals. New Zealand isn’t known for its metal scene, however, “Euphoreon” have the potential to make the New Zealand metal scene world famous if they carry on releasing masterpieces like this.

5/5

Nico Davidson

Wolfchant – Call of The Black Winds [2011]

Posted in CD, Metal with tags , , , , , , , , , , on 10th March 2011 by Nico Solheim-Davidson

Band: Wolfchant
Album: Call Of The Black Winds
Release Year: 2011
Genre: Viking Metal/Black Metal/Folk Metal/Pagan Metal

Teutonic metal sextet “Wolfchant” are back with their newest release “Call of The Black Winds”.

The first track of the album, “Black Winds Rising (Prelude)” is an entirely orchestral track which eases the listener into an epic sounding atmosphere. “Stormwolves” comes blasting in straight after with a heavier-than-rock guitar riff, which sounds somewhat piratey. The vocals are a mix of black metal styled screams and aggressive death metal grunts, which adds a certain epic element to the track. The drums are well played as well and they seem to fit in well with the guitars.  The next track is “Eremit”, which is German for “Hermit”. It begins with a slow but heavy guitar intro mixed with keyboards and drums. The pace of the guitar and drums soon increases whilst the keyboard carries on its epic medley. The vocals soon make an appearance, grunting German lyrics which just adds aggressiveness to the track. The use of keyboards on this track helps keep the epic feeling flowing.

“Black Wind” is the next track. It begins with a fast-paced military styled drum beat which is soon replaced by heavy guitars, drums and aggressive vocals.  The lyrics speak of gods and spirits, which brings an epic-meets-fantasy-meets-metal kind of feel. The use of bass-sounding clean vocals  seems to give the track more “oomph”. The clean vocals certainly work brilliantly well with the harsher vocals. The use of keyboards towards the end of the track just makes this track complete. “Naturgewalt”, which is German for “Force of Nature” comes after, beginning with an aggressive yet epic guitar and keyboard intro. The drums seem somewhat heavier than the previous tracks – though they have been pretty heavy on the previous tracks. The aggressive vocals keep up the heaviness of the track. The clean bass-like vocals sound more aggressive on this track as well, almost as if the vocals were about to go into a battle. This track would have to be the best track on the album.

Next is “Heathen Rise” which begins with an epic, medieval styled keyboard intro, luring the listener into a state of calmness before the metal storm of heavy pounding guitars and drums make their appearance, followed by brutal sounding vocals. There is a use of clean vocals which sound slightly higher than the clean vocals on the previous tracks and they still work well with the harsher vocals. “Never Will Fall” comes next which begins with an epic keyboard intro, similar to that of the first track with what sounds to be some influence from the “Pirates of the Caribbean” soundtrack. The guitars soon follow, turning the track heavy. When the drums come in, the track turns even heavier. The track keeps a steady mixture of epic and brutality.

“‘Die Nacht Der Wölfe”, which means “Night of the Wolves” in German, is next. It begins with heavy intro that sounds oddly familiar. The use of German lyrics adds a certain epicness to the track. The drums seem to make this track heavier. Next is “The Last Farewell” which begins with an acoustic intro, setting a very folk-like atmosphere. The cleans vocals sound too deep to work well with the acoustic guitar. The track does turn heavy though, which suits the clean vocals much better. The lyrics create a very emotional mystique, almost emotional enough to bring a tear to the eyes. The use of an immense guitar solo just completes this track perfectly.

Straight after is “‘Der Stahl In Meinem Feinde” which means “The Steel In My Enemies” in German. The track begins with a dark sounding synth intro, creating a very gloomy atmosphere which is soon dispersed by the introduction of a brutal guitar riff. The vocals are on top form on this track. The track, itself, overall is somewhat similar to an old skool “Ensiferum” mixed with a hint of “Manowar” and “Hammerfall”. The final track, which is also the title track, “Call of the Black Winds” comes next to finish off the album. It begins with a mystical sounding synth intro before an epic guitar riff comes in to take over. The riff soon changes to something a bit more rough just before the vocals come in. There’s a use of acoustic guitars on this track as well, giving it a nice variety in terms of instrumentation.

“Call of the Black Winds” is one of the few brilliant albums out in today’s metal scene. With the use of keyboards and synths to set emotional atmospheres, combined with brutal guitars and drums and a powerful bass voice as well as the harsher vocals, “Call of the Black Winds” has the potential to get to the top and stay there for a while.

4.5/5

Nico Davidson

Destruction – Day of Reckoning [2011]

Posted in CD, Metal with tags , , , , , on 16th February 2011 by Nico Solheim-Davidson

Band: Destruction
Album: Day of Reckoning
Release Year: 2011
Genre: Thrash Metal

Teutonic thrash metal kings “Destruction” are back with their new album “Day of Reckoning”. The band have stated that this album will go “more back to their roots”.

The album begins with “The Price” which straight away proves to be the beginning of a very promising album. The guitars just blitz the ear drums, the vocals are raw and aggressive and the drums have a good ol’ thrash styled brutality to them. The guitar solo is insanely brilliant as well.
“Hate in my Fuel” comes straight after and it carries on the thrash-styled blitz with a fast-paced and heavy intro riff. The vocals, again, are raw and aggresive sounding. Parts of this track sound as if there is some influence from old-skool Megadeth. “Armageddonizer” follows right after. It sounds slower paced compared to the last two tracks but just as heavy. The best parts of this track would have to be the bass only section followed by the guitar solo.

The track is “Devil’s Advocate” which features a brilliant use of technical riffs and speedy chugging. The vocals sound as if they’ve become more aggressive on this track as well. The guitar solo has a very old skool sound to it as well. The title track “Day of Reckoning” comes next. It’s drum intro followed by a high-pitched wailing guitar riff is just immense. The track soon turns heavy, with a great use of double bass pedal, beasty riffs and raw vocals which sound almost death metalish. This track is, without a doubt, the best track on the album.

The next “Sorceror of Black Magic” takes a heavyness up a step. Everything sounds more brutal on this track, especially the drums and vocals. The guitar solo has a slightly modern sound to it mixed with an old skool influence. “Misfit” comes next and it has taken a the heavyness down a step, though in some parts of the tracks, the drums sound as if they’re overpowering the drums. The guitar solo isn’t as impressive as the previous ones.

“The Demon is God” is next and it’s intro riff sounds a tad similar to the intro of Iron Maiden’s “Number of the Beast”. The guitar solo half through is a vast improvement compared to the one in the previous track. “Church of Disgust” is on after and it begins with an unsynchronised chanting of the Lord’s Prayer before an intro solo comes blasting in. The track sounds like it’s been slightly influenced by “Sabbat”. The vocals retain their raw and aggressive sound and the guitars and drums sound as heavy as they have been on previous tracks.

The next track is “Destroyer or Creator”. It begins with a slow but heavy intro. The tempo increases a bit once the vocals kick in. The drums sound brilliant and the short guitar solo halfway through is just epic. “Sheep of the Regime” is next and in true thrash metal style, it begins with an aggresive intro and the lyrics have a very political meaning. The final track is a cover of Dio’s “Stand Up and Shout”. While not as aggressive as the rest of the album, it still proves to be a brilliant track and a great tribute to the metal god himself.

This is an extremely enjoyable album, from the immense guitar riffs, the heavy drums, the raw vocals and the brilliant perfection. Destruction are like a fine wine – They just get better with age and this album proves it!

4.5/5

Nico Davidson