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  • Kolkata Deathfest

    Jan 12 • Events, Indian News • 3498 Views

    In a city that has been swamped by Modern Metal aficionados by and by, for the better half of the last few decades, a city that has its Heavy Metal foundations rooted deep into the sub-genre of Death Metal with bands like Amavasya, Atmahatya and DIOT’B, Kolkata sure seems to be building up some momentum to unleash it’s own brand of unrelenting Death Metal assault. Presenting the very first edition of Kolkata Deathfest, the first event of its kind organized keeping mind the slowly incrementing number of Death Metal acts in the city and the dedicated fan base it commands.

     

    Kolkata Deathfest is stipulated to be held at Sujata Sadan, in Hajra which lies at mouth of the Southern fringe of the city, on the 13th of January. Initially stipulated to simply host the headliner Defiled and a host of Death Metal offshoot acts such as city based Tech Death stalwarts Evil Conscience, nascent yet hard-hitting act Divide Torture, Bestial Death Metal band Necrodeity, 4-piece Death-grind outfit Strangulate, the newly formed Old School Death/Black Metal act Banish


    Re-affirming their gusto, the organizers launched two separate posters promoting the line up too! The first one would be the one featuring the headliner:

    kolkata-deathfest-india

     

     

    The 2nd one summarizes the list of support acts as well.

     

    kolkata_india-13janeiro2015

     

    The organizers also released a teaser in support of the show.

     

    The response to the event was so overwhelming it seems, that the organizers went out and cashed in for a 2nd international act in Malapetaka, a Death/Thrash Metal act from Malaysia. However due to certain inconvenient circumstances, Strangulate had to back out of the show and were in turn replaced by Blackened Death Metallers from Darjeeling, Imperial Cult.

     

    Point to be noted, the event marks a big platform for several of the support acts as it serves as an album-support show of sorts. Evil Conscience have just released their debut EP “Death Is Only the Beginning” on Utah based label Slaughterhouse Records and would be playing the first show since the international release of the album a couple of weeks back. Also, Imperial Cult are on the verge of re-releasing their debut EP “Rise of Yalamber” on Salute Records from Sweden and will be distributing a limited number of copies at the event.

     

    Interesting thing about the Kolkata Deathfest is that it has been in the making for quite some time now with Old School Metal acts Impiety and Manzer gracing the city with their debut Indian shows in the last couple of months. Regardless of the success of Kolkata Deathfest, the organizers plan to host a couple of more events in succession in the first half of the year too. However, given the buzz generated from the same, there is little reason to believe the show might not see decent footfall!

     

    The Icing on the cake was when Japanese Death Metal elites Defiled resonated their share of anticipation by revealing their setlist for the Kolkata show on their social media account:

     

    DEFILED Setlist for Kolkata Deathfest

    01.Stench of Grudge

    02.Dissolved in Dust

    03.Intolerant

    04.In Crisis

    05.Swollen Insanity

    06.Lethal Agitator

    07.Disguised

    08.Enraptured

    09.Crush the Enemy Rising

    10.Fear and Epecureanism

    11.Revelation of Doom

    12.The Dormant Within

    13.Retrogression

    14.Divination

     

    For a gist of what is going to go down, sample this:

    https://www.youtube.com/watch?v=CvajRH7odlM

     

    Written by – Arkadeep Deb

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  • Watch Carcass play at BIG69

    BIG69 is BIG because: Carcass

    Jan 10 • News • 2694 Views

    ‘Metal heads’ who were introduced to the genre because of a Reverbnation playlist full of artists with advanced Photoshop art album covers and ambient space music backgrounds are oblivious to the very putrid and gore labelled outfits that fall under the ‘extreme’ niche. Although the country prepares itself for a night of brilliance from the British metallers who like to call themselves Carcass, it’s obvious to say that some are enthralled more by the fandom the band has than its music.

    Watch Carcass play at BIG69

    Watch Carcass play at BIG69

    For a band with a history like Carcass, a decade long career followed by an even longer hiatus and a reunion without their original drummer seems to be among the many things that has heaped the band the way it is. Of course someone not a part of the band can only know so much. There was a time the band’s fans went about saying they were either too repetitive or they were too influenced by everything else. “Encorporating Bhangra in CARACASS simply wouldn’t work”, says the band. “That said we are clever in CARCASS we DO encorpoarate styles and influences that people don’t detect because our personal listening styles have changed and it STILL sounds like CARCASS.” Similarly there’s a lot of Carcass fans out there who’ve put them on the mantle as pioneers of two prominent style of playing metal; grindcore and melodic death. When one listens to a song off Heartwork, the obvious reaction is that it’s a cheap Hypocrisy or Children of Bodom rip off although it’s the opposite that’s true. “I can think of more ‘guilty’ parties who ran with our ‘style’ and ‘influence’”, is all they had to say when we named a few bands that play tribute to their Heartwork style. We never hear them complain of bands that are obviously playing that style of music, instead they credit the dissolution of pioneering bands as what clears way for those bands to finally come in and fill that vacuum. Maybe so, post their breakup in 1995, there was a breakout of modern day melodic death metal outfits like Amon Amarth, Arch Enemy, Shadows Fall, Dark Tranquillity, Soilwork to name a few. The best part is that Carcass credits its music to be something that developed out of the scene that was happening in the late 80s, instead of taking credit for it all.


    If it (any band’s current sound experimentation) deviates too far from the original vision of the band then yes”. The band is very vocal when it comes to how far a band can go about experimenting with its music: there’s no way people would listen to a death metal band if it became a soft rock and roll oufit. Also, in a music industry like today’s where record labels and fans often corner bands into making decisions that could result in the total artistic breakdown of the band, we have Carcass, still doing things the way they did back in the 80s. The late H.R. Giger famous for his surreal art and close association to a certain style of metal (read Celtic Frost) did the art for their Heartwork album cover, and in such situations they tend to have a lot of influence on the way the music sounds in the end. “Sadly he wanted to do the video for “Heartwork” but Columbia Records wouldn’t give him the budget he wanted”, says the band. They also said that Giger didn’t influence them but their work with the music and theme of Heartwork got the late artist working on something as incredible as the art.

    Extreme metal has always been anti authoritative in terms of the attitudes of the metal heads and also the music that bands played back then was simply put, ‘telling the system to put a sock in it’. The most challenged authority has always been the Papal church and it’s been a consistent theme with metal through its history but in recent days a new issue is coming forward with artists and free thinkers alike campaigning for the same: legalization of marijuana globally. Doing things out of the way has always been synonymous with metal music but now even mainstream bands are doing the same. “Stoner” means to get stoned (high) on Marijuana and I think it’s personal choice and as long as you don’t effect anyone else then what you do with your body is not my concern. Personally I find smoking Marijuana BORING.”

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  • Desolate Shrine – Heart of the Netherworld

    Jan 8 • News, Reviews, The Slumbering Ent • 3335 Views

    Dipankar Mohanty reviews the new album from Desolate Shrine titled Heart of the Netherworld, released via Dark Descent Records.

    Desolate Shrine - The Heart of the Netherworld (2)

    Artwork by the man who does all instruments on the album, LL himself

    The Finnish who dropped a megaton of suffocating death metal in the form of “The Sanctum of Human Darkness” are back with their sophomore release – “The Heart of the Netherworld”. “The Sanctum of Human Darkness” was one of my top five releases in 2012 and in my opinion also blew away a lot of recent black/death metal releases and still continues to do so.

    In a nutshell, “The Heart of the Netherworld” is a worthy successor to their first album and similar to it. One, the most critical trait – the production that drives the suffocating nature of the album is still intact and claustrophobic as ever. Two, the band focuses on creating an album rather than a bunch of songs. Three, once more there is enough variety within each of the songs to keep the listener interested; and finally, the dark and dank atmosphere remains as the core of the album.

    Straightaway, the “Intro” is enough to soothe the senses of the hardened death metal fan by releasing a barrage of riffs led forth by a huge wall of sound. “Black Fires of God” ups the ante immediately and lays bare all the traits of the album – tempo changes, meaty riff passages and that eerie atmosphere which seems to be influenced by the twisted works of Deathspell Omega. The album is created on the base of this atmosphere with all the other parts layering over it. Songs like “Desolate Shrine”, “We Dawn Anew” and “Heart of the Netherworld” expands the atmospheric elements further and considering that they are 10+ minutes long, the band has enough time to intricately arrange them. They are not slam bang affairs but a very controlled exercise in intensifying the dark elements, be it the riffing or the atmosphere. The shorter songs are more straightforward but still remain attached to that ghastly atmosphere, case in point – “Leviathan”.

    The Finnish horde has managed to carve another monstrous piece of monolithic death metal, one that is going to stand the test of time. The only issue that death metal fans might face is keeping up with the long songs because they are intense. Long songs, especially by this band have a greater chance to overload the senses. Like the previous album, this personally for me is not an everyday listen. This one again needs to be devoured in its entirety followed by a period of recuperation.

    RATING: 4/5

    This mighty tome will resurrect the dead, but it may not turn lead to gold.

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  • The Dead – Deathsteps to Oblivion

    Jan 4 • Articles, Reviews, The Slumbering Ent • 3158 Views

    Anoop Bhat reviews the sophomore album from The Dead titled Deathsteps to Oblivion, released via Transcending Obscurity.

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    TRACKLIST

    1. Maze of Fire

    2. Disturbing the Dead

    3. The God Beyond

    4. Terminus

    5. Deathsteps to Oblivion

    Every once in a while comes an album that pushes the envelope just a wee bit, bends genres and in the process gives metal music a new dimension. 2009’s Ritual Executions by The Dead was one such album and now with their third full-length, the band has essentially perfected the sound template they helped forge five years back.

    Deathsteps to Oblivion opens with Maze of Fire – a bass-heavy, mechanical, plodding, and almost-industrial sounding slab of death-sludge music – a good reminder of where the band left off with their second album. The music here is primitive, unapologetically basic and hard-hitting, an affair the band proudly maintains for the rest of the album. After a neat bass-driven interlude and a screeching guitar solo, we move on to Disturbing the Dead a tune that takes an Asphyxesque death-doom riff, slows it down a notch and attacks back with its putrid heaviness. Michael Yee is a beast – his deep, glottal vocals with all its raspiness perfectly complements the kind of mid-paced death metal music these Australians churn out. The mix of the album is perfectly suited for the kind of organic, primal sound terrain the band is going for. It isn’t cavernous for the sake of it, but the production definitely lends the music that extra edge.

    The album centrepiece, God Beyond erupts with this high-octane black metal attack replete with tremolopicked riffs, a piercing guitar tone, blast-beats and menacing black metal shrieks before plummeting to absolute silence and then breaking into the most soulful and strikingly expressive set piece. Adam Keleher’s bass-playing really shines on this album and with this song, he absolutely nails it – probably my favourite song on the album.

    The album then trudges on to the out-and-out catchy death-sludge anthem that is Terminus. It has a very Ramessesy feel to it. Michael’s vocals on this one drips with syrupy filth – so dirty, so viscid and just so right for this kind of music. The album closer, Deathsteps to Oblivion feels like the musical equivalent of a coronation with its grand build-up and bow-down-before-me heaviness.

    The album has an excellent flow. I did not have access to the lyrics at the time I was sent the promo, but I think the underlying narrative really came through. The songs with their motifs and general instrumentation seemed to rightly capture the mood. For instance, the marching, hammer-drill rhythm of Deathsteps to Oblivion brings to mind the slow, perturbing ascend to ‘oblivion’. The dichotomous nature of The God Beyond evokes a sense of bewildering wonderment, the kind that the principal character of the narrative might have experienced on encountering a preternatural being, followed by the quiet, melodic segment that addresses the character coming in terms with the feeling.

    The Dead have returned with an excellent album with songs that are inventive and seem to have been explicitly crafted than just ‘written’. Deathsteps to Oblivion is definitely the band’s best offering till date and one of the best albums of 2014. All hail The Dead!

    RATING: 4.5/5

    A most erudite grimoire, and a worthy addition to the annals of metal prowess.

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  • Stereolithic Riffalocalypse’ artwork

    Shepherd announce album details and release their track ‘Bog Slime’

    Jan 4 • Articles, Indian News, News, Releases • 3037 Views

    India-based sludge/heavy rock band Shepherd has big things 2015 is their year. After two years of writing, recording and several gigs at clubs and festivals in Bangalore, Shepherd is ready with their debut album, titled ‘Stereolithic Riffalocalypse’, slated to release on 7th March 2015. The album will be available for pre-order on 1st February 2015. To start off things the band has released their new track “Bog Slime” for their fans.

    Formed in 2011, Shepherd is probably the only Bangalore-based sludge/heavy rock band from India. The band has been making waves in the underground, drawing Influence from the guitar-driven sounds of early 90’s hard rock (Soundgarden, The Melvins, Eyehategod) and the aural assault of 80’s hardcore punk (Black Flag, Discharge, Fear), the band has built a reputation for itself as an ever-evolving and unpredictable heavy rock entity. You don’t need more proof of that than just one listen to the nine tracks that feature on Stereolithic Riffalocalypse, which was recorded at Bangalore’s Area 51 Studio and mixed by Rahul Ranganath and mastered by Brad Boatright at Audiosiege, who has previously worked with the likes of YOB, Obituary and Oathbreaker.

    Despite a setlist that keeps growing with every gig under its belt, the band takes it a step further by introducing improvisational elements into their music – sort of a rarity in heavy music. Shepherd being the only band of its kind in India has been slowly building a reputation as one of the loudest, heaviest three-piece band to watch out for, ready to take on the rest of the country, and the world.

    Stereolithic Riffalocalypse’ artwork

    Stereolithic Riffalocalypse’ artwork

    Shepherd is:

    Deepak Raghu – drums/vocals

    Namit Chauhan – guitars/vocals

    Abhishek Michael – bass/vocals

    Stereolithic Riffalocalypse tracklist:

    1. Spite Pit

    2. Turdspeak

    3. Crook

    4. Black Cock of Armageddon

    5. Stereolithic Riffalocalypse

    6. Bog Slime

    7. Wretch Salad

    8. Stalebait

    Recorded at Area 51 by Premik Jolly, mixed by Rahul Ranganath, mastered by Brad Boatright (AudioSiege). Album artwork by Sonali Zohra (Dangercat Studio)

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