sábado, 14 de enero de 2017

Interview with WYRUZ

by Vpower

The Band: Wyruz
Country: Norway

Hailing from Norway we get the second album from this death thrash metal band. "Judge and Jury" will bring you a bunch of guitar solos, killing riffs and demoniacal rhythms, for sure not a good chance for those who seek meditation through yoga or the like. They are not new in this but their second effort is really a giant step in their career and they are on fire, preparing the third chapter already.

Hello guys and congratulations for your second album "Judge and Jury". Wyruz was formed in Norway in 2002, 14 years already... what do you remember of that time?

Hi, and Thanks!

What I remember the most is that when you are younger it tends to be a lot more distractions in your life. You don`t want to miss anything and staying to one thing for a longer period of time is a challenge. When I look back I don`t think we did many things the wrong way, but we didn`t have a clue on how things was in the industry. It`s all about knowing the right people and having some luck along the way also. Me and Kim were more about practising the guitar-skills and not so much selling the band. I guess we thought that everything would work out as soon we had record-deal, but i reality it`s 10% music maybe and the rest is selling a product. But hey, I am really happy we honed our skills rather than selling ourselves back then, `cause today we enjoy it and have been true to it for almost 15 years!

 What has changed in Wyruz since then?

The biggest changes is that we have some peace surrounding us all while we make music, and how we have found our places in the band. It`s all about the teamwork and mutual understanding towards what we wanna be as a band. We all have jobs and have certain routines which makes it easier to see what comes next. We are also very good friends as well outside of the band. I feel that this line-up is the line-up until we part for good.. not for another 30 years I guess, and then we will battle who`s got the worst case of arthritis or something. haha

 It seems the beginnings were a bit difficult, you didn’t get your first album, “Fire at Will”, on the streets till 2012, right?

Yeah, we had a good run in the first years, but we just could not get a label back then. I also moved to Oslo for some 6-7 years and because of that we had a gap for a couple of years even though we never thought of splitting up or anything. When I moved back to Hamar we got into it more than ever before so it was a good not-so-very-active period in the end. The result was "Fire at Will". Now we are more active and like playing in a band more than ever before.

Now we have in our hands your second album, in my opinion a great progression regarding your debut album

Yeah, it`s more of everything I think. You got more variations in the songs and the overall thread is way more complete. It sounds Wyruz and we finally found what we were searching for. We are not a pure thrash or death-band, and the struggle was to find our "sound" so we could shine the best on each our department of playing our instruments. If you have a drummer that plays really fast I think you should let him be at his best, and the same goes for the guitars. If someone kick ass playing thrash, don`t make them play less than what they are capable of. This was kind of our mentality this time around. - Let us mix up what we do the best as individuals and see what comes out of it, but don`t let it get in the way of the music!

How was the composition process of "Judge and Jury"?

The writing process with “Judge And Jury” was basically done by each band-member individually. Everyone in the band writes songs and plays the guitar, so each band-member makes pre-prods of their songs on their computers, and sends it to the others in the band for feedback and critique, and input on ideas on what to change and so forth. This process takes a good amount of time to complete before we start to rehears the songs before hitting the studio. We are very critical when it comes to songwriting and arrangements as we discuss this a lot, and we try to agree on details as best we can. «Judge And Jury» contains 13 songs that all of us felt had it's place on the record and we all agreed on that. It's a lot of hard work writing the songs that we do as we try out a lot of different arrangements, try out different solos, drum-parts, bass-lines, we take riffs out and put new ones in, and we use a lot of time to get the vocals to fit each song before we are satisfied.

"Judge and Jury" is many things except... relaxing hahaha, do you agree?

He he! Well no, it’s not relaxing music that we create and that`s a fact! One thing for sure is that we feel that we have found the style of music that fits us as a band, but when we have finished a concert or a practice-session we feel relaxed, `cause playing this type of music takes a lot of energy! That is the beauty of metal, it`s an outlet and a tension valve of releasing pressure!

I like very much the mix you make between death and thrash, spiced with some heavy and black metal. An explosive cocktail!

On our first album «Fire At Will» we actually were more strict to how we should sound when it came to be more genre-specific, and it was a good start. We found the basic foundation for Wyruz. We brought this with us when we wrote «Judge And Jury» and the foundation is Thrash Metal. But things changed a bit when we started to write «Judge And Jury» as the songs got faster, way faster actually, and they changed in terms of arrangement. We just said fuck it! We are gonna write what comes out of us without going through any genre-«filter», so yeah it came naturally to us when we just wrote the songs without thinking to much about it. In that way we found the sound that we feel Wyruz should have, and we feel that it fit us very good.

To describe our music as an explosive cocktail is very fitting, and we will take it as and compliment!

Be careful with some of the riffs and solos we get through the album because they can burn your skin! I think you should have posted a warning label on the cover, shouldn’t you?

Haha, we have worked hard on getting the riffs memorable and the solos to fit the songs as best we can, so it should give some infection or at least a rash of some sort.. That was actually a mighty cool idea, with a sticker saying something like that or just send along a rusty spike you cab stap yourself with to get that little extra.

After listening to the whole album I felt my neck was smashed, age has no pity, and your music neither, this is a “do headbanging or die album”, was that your intention?

Of course! Our assault of metal will not take any prisoners! But on a serious note we just wrote the music that came to us so to speak, and therefore you could say that it was intentional on a subconscious level. We write our music to be aggressive, brutal, catchy, fast but also to have a militant groove so to speak, and have contrast in our songs with tempo changes and solo`s with melodies and not only shredding all the time.

If I had to choose a song it would be Not The Enemy, I love the darkness in this song. Do you have any favorite?

That is a very tough question and extremely hard to answer! It will probably be different to each member of the band. The thing is that when you work very hard on an album, it is very difficult to point out a favorite tune, when each member work hard on their respective instruments on minor details, and perfecting it, you find things in every song that you are satisfied with!

“Judge and Jury" is a curious title for an album, what are the lyrics about?

We actually were gonna call it "Carved in Stone", but there was another band that had something similar, so "Judge and Jury" it was. We think the title is awesome and there is definitely some judging going on in the lyrics as well. we don`t have any main themes in the lyrics, but there`s some about serial killers, war, religion and even politics even though I`m not into it.

What bands have influenced your sound?

We like a lot of different bands and music within Wyruz, but to list some of the bands that we like without making the list longer than a whole year, it would probably look something like this: Slayer, early Metallica, Death, Morbid Angel, Behemoth, Krisiun, Zyklon, Myrkskog, Nile, Blood Red Throne, Hate Eternal, Misery Index, Exodus, Megadeth, Testament etc.

Listening to Wyruz you believe that you can also be a big band in Norway without playing only black metal...?

Norway is a small country, and the city we are from is Hamar, Which has about a population of 30.000 inhabitants. We Actually had two release-gigs in our home town, and our “main” concert drew more than 300 people, and that shows that we have a good supporting group of loyal fans in our hometown! The second gig we did was at the local “house of culture” were it was free entry and free age limit, and there were a little over 100 people there, so it is possible to draw a crowd in Norway without playing the metal of the blackness!

Wyruz has been part of the two-week European tour called “The Norwegian Invasion Tour”. Which countries did you invade and how was it? Would you repite the experience?

The countries that we invaded was: Germany, Austria, Italy, France, Belgium and The Netherlands. It was a really good tour and experience! In total we were five Norwegian bands on tour(therefore it was called the Norwegian Invasion Tour) The bands got along great, and had a good chemistry! The tour went extremely well with little problems. We had the co-headliner place on the bill, being the 4th band on stage each night just before Blood Red Throne! As for Wyruz,  and the reception we got and it was our first tour outside of Norway, was very good! And it resulted in more tour offers, festival gigs and other cool stuff!

Yes, it is an experience we definitely would repeat! Probably a one-time experience for sure, don’t think that there is an opportunity for a tour with 5 Norwegian bands emerging in the near future, so we were lucky to have the opportunity!

To get lucky, sometimes you must attract or seek the luck... At this moment what are your touring plans for the following months?

We had planned to do a tour in November, but unfortunately there were some things that was out of our hands that happened, so we could not do it. We got another offer in December, but it did no fit our schedules. So no tour as of yet, but we are working on getting a tour early next year! I can ‘t reveal any details yet, but it’s in the planning stages.

Finally, what are your plans for the future?

Touring is of course the first priority as mentioned earlier. We are planning to shoot a new video in November, and we have some ideas about the video and so forth. The process of writing stuff for our 3rd album has begun, but the main focus is to shoot that video and do some kickass touring next year!

Thanks, guys, hopefully we don’t need to await a long time to get another great album from Wyruz. If you wish to add something...

Thanks so much for the attention! Go buy our album and spread the word so we can tour a lot next year! The next album will be even better and we`ve already have started to write new material.

Desolate Pathway – Of Gods and Heroes (2016)

2.The Old Ferryman   
3.The Perilous Sea      
4.Medusa's Lair          
5.Into the Realms of Poseidon
6.Enchanted Voices
7.Gods of the Deep    
8.The Winged Divinity 
9.Trojan War

Mags - Drums, backing vocals
Vince Hempstead - Guitars, Vocals

Producto para clasicómanos, indudablemente, el que os traigo hoy aquí. Para abreviar en presentaciones creo que lo mejor que se puede decir si no conoces a estos ingleses es que su guitarrista y cantante Vince Hempstead ha colaborado con los dioses Pagan Altar, creo que con eso queda todo dicho. Y no en vano, a lo largo de todo el disco notamos de manera muy importante la presencia e influencia de esa mítica banda británica, sobre todo en el sonido de la guitarra.

Este es el segundo disco de Desolate Pathway, la banda se formó hace dos años, en 2014, año en el que debutaron con su primer larga duración, al que ahora le sigue este muy buen trabajo, así que parece que las ideas fluyen de manera muy clara en este banda de solo dos componentes. Como nota anecdótica la batería la ocupa una mujer, algo poco habitual, y además hace una gran labor.

Arrancamos con The Old Ferryman, después de una breve intro a base de cánticos monásticos, y tiene un inicio a base de caja y riff epic war, guitarras melódicas dobladas y sonido nwobhm por los cuatro costados, algo que va a ser una constante a lo largo de todo el disco, como ya os decía antes es un disco para amantes del sonido clásico e incluso rancio, deliciosamente rancio. Además, el señor Hempstead tiene una excelente voz, grave y profunda, que acompaña perfectamente la orientación doom del grupo. Un tema de sonido oscuro y heavy que te recordará a grandes del género como los Pagan Altar, Manilla Road, Witchfynde, Omen, etc.

The Perilous Sea se inicia con una cadencia muy lenta y un riff épico, es un medio tiempo con un sabor total a Manilla Road, metiendo punteos melódicos aquí y allá que le dan mucho aliciente al tema. Los ritmos mantienen mucha tensión, oscuridad y mucha épica son las claves de su sonido, los ritmos lentos son la nota predominante pero la fuerza que transmiten sus temas es brutal.

Medusa's Lair se inicia con unos aires Black Sabbath innegables, riffs de la era Ozzy. Otra vez la voz me vuelve a sorprender por su presencia y la actitud que transmite, realmente es algo poco habitual en un guitarrista el aunar buena técnica con grandes dotes vocales, lo contrario suele ser mucho más frecuente, ahi tenemos claros ejemplos como el de Uli Jon Roth o Tipton. Este es un tema con predominancia de sonido doom stoner, tirando de la influencia de bandas como los Sabbath, Pentagram.

Into the Realms of Poseidon se inicia con el murmullo de una corriente de agua y va seguida de un ritmo muy lento, lo más pausado del disco hasta ahora. Ritmos baladísticos introduciendo guitarras melódicas por medio, con un gusto realmente exquisito. La riqueza del tema se ve complementada con los riffs a lo Sabbath y Brocas Helm, sobriedad y elegancia por igual.

Enchanted Voices arranca con voz femenina y riff doom y va ganando un poco de velocidad, pero siempre dentro de los ritmos lentos y cadenciosos que son la marca de esta banda. Una de las cosas que más me ha gustado de esta banda británica es la perfecta mezcla y equilibrio que logran entre el sonido doom y el heavy epic, consiguen impregnar su sonido de oscuridad pero también de elementos que te hacen vibrar. Este corte es especialmente claro en ese sentido, una especie de cruce entre unos Atlantean Kodex o Battleroar con unos Sabbath, y el final es realmente mágico, aunque solo dure unos segundos, con un riff Savatage ochentero.

Gods of the Deep es un heavy a medio tiempo con un riff central genial muy Omen, puño en alto y a hacer coros. La melodía que consiguen en este corte es épica a más no poder y el reguero de punteos incontable. Pero como en todo el disco, tienen que meter el rollo sombrío, la parte esotérica del tema con su punto psycho, les ha quedado bordado.

The Winged Divinity es el corte más largo del disco, siete minutos de epic doom donde destacaría la gran interpretación vocal. Excelente el solo melódico y los riffs que acompañan todo el tema. La riqueza estructural de sus composiciones es muy alta, la parada con acústicas en este corte es realmente una obra de artesanía, seguido de un solo melódico extralargo, me recuerdan mucho el sonido de los Morgana Lefay, uno de los temas más destacados del disco. Y el final lo ponen con Trojan War, otra dosis de heavy doom con grandes melodías y el lucimiento en el micro de Vince.

Gran disco que nos deja esta banda británica, como comentaba, sus influencias están claras y son deudores del sonido de grandes bandas de la historia del heavy y el doom, pero eso no resta mérito a unas composiciones con gran riqueza y perfecta ejecución. Todos los que gustamos de ese heavy cavernicola y rancio con tintes de epic doom disfrutaremos como enanos con este disco.

Puntuación: 8,5/10

Hostis – hostis (2016)

2.Beneath the Machinery of Demise    
3.Mutilation of Truth   
5.In Shadow of the Crucified  
6.Gods are Dead

Aleksandar Dragojević - Bass
Miloš Klikovac - Guitars
Srđan Mišović  - Vocals

Desde Montenegro nos llega el primer disco de esta banda de death metal. Se trata de un trío y este primer disco lo han editado ellos mismos, aunque sea en una tirada muy limitada, nada es fácil en el mundillo de la música, y en el del Metal más si cabe.

El inicio del disco es contundente, parece como si Hostis, el nombre de la banda, del disco y de este tema tuviera que ser la caña, no les falta razón, si es tu seña de identidad hay que poner toda la carne en el asador. Un tema que rinde tributo al sonido Vader, potencia y la parada típica con un riff melódico, y buen solo pone el colofón a un tema interesante, nada innovador pero con mucha pegada.

Beneath the Machinery of Demise es un tema con un ritmo mucho más directo, una mezcla entre death melódico y death old school, aceleraciones constantes y solo melódico, buena ambientación y riffs con gancho.

Mutilation of Truth es un corte variado, se trata de un medio tiempo de death melódico donde lo más destacado son los riffs con groove y los blast beats. El solo es melódico y afilado y la parada se toma su tiempo para arrancar finalmente con unas guitarras a lo Schuldiner, un tema que pasa por todas las fases para acabar a toda máquina. Una composición con mucha energía aunque no precisamente original por su composición.

Demigods tiene un inicio thrasher y luego meten riffs y solo de power trhash, cambiando el tiempo del disco. Se trata de un tema instrumental con su pausa de riffs pesados, con un segundo solo de heavy metal que resulta fresco y le da versatilidad al tema.

Los dos últimos temas pasan de los 7 minutos. In Shadow of the Crucified es un death melódico con ciertos aires de viking metal. Parada, riff melódico y solo que entra como un puñal. Un segundo solo típico del death sueco y luego a correr. Gods are Dead remata el disco con una nueva variación respecto a lo visto hasta ahora, una mezcla entre death y grindcore, con voces a lo brutal death. Así que se puede decir que el disco empieza de manera muy convencional y aunque luego no inventan nada sí que van dando pasitos para hacer un disco bastante variado y entretenido, con buen trabajo en las guitatrras y en los ritmos. Son solo 6 temas pero con una duración de casi cuarenta minutos que hacen que el disco no decaiga en ningún momento.

Puntuación: 7/10

The Perilous Sea (by Desolate Pathway)

jueves, 12 de enero de 2017

Interview with HAMMER KING

by Vpower

The band: Hammer King
Country: Germany
Answers by: Titan Fox (vocals, guitars)

Featuring talented musicians from Germany’s heavy/power metal scene, HAMMER KING  emerged last year with their debut album “Kingdom Of The Hammer King”. Now, it is time to unleash their second opus “King Is Rising”, with a nod towards faster paced songs compared to their debut. Titan Fox was talking to Metalbrothers.es and we enjoyed it, a very interesting chat.

Hello Titan and congratulations for your new and second album "King Is Rising"

Titan: Hello Metalbrothers, Hello Spain! Thanks a lot, we are happy to see "King Is Rising" released and it's great talking to you!

When was the band formed and how did it happen?

Titan: The legend says that the band was spiritually formed in 1978 by the Hammer King – we started working in 2014, recorded "Kingdom Of The Hammer King" in 2014, released it in 2015 and started playing shows in 2015.

“Kingdom Of The Hammer King” was your debut album, released just last year 2015. The machine doesn’t stop...

Titan: We really hoped to have a strong follow-up within 1,5 years and thankfully the songs came along really great – and our label Cruz Del Sur Music has been able to put the album out equally quickly. The machine doesn't stop, right. A new band needs to live through putting out albums and playing shows. We try to fulfill both jobs at the same time!

Comparing “Kingdom Of The Hammer King” with "King Is Rising", I think the second is wining, how do you see it?

Titan: I am really glad to hear that! Honestly, it was tough writing songs for the second album as the first was such a spontaneous effort. This time we really worked very much in the depth of the songs, the demo we did for the studio was absolutely worked out into the smallest details. So after some months of hard work we knew that "King Is Rising" was gonna be a strong album – but after we came out of the Studio Greywolf (Hail Charles!) we felt that the album was very much a natural thing. We could feel the confidence and the strength of a grown band. Still it's hard to compare the albums – they are brothers, maybe "King Is Rising" is the bigger brother of the two :-)

Some people calls it power metal, but I think "King Is Rising" is more heavy metal than other thing, although with some roots in other styles, as it’s common in the Metal nowadays.

Titan: Well, I am old enough to remember Heavy Metal before someone brought up the term Power Metal. So I never really got the difference between the two "styles". I think Hammer King's sound is not as "fat" as most Metal bands' sound is. We play many traditional open chords, use less deep strings than it is mostly done nowadays – we do not use samples or keyboards at all, so actually we are quite Heavy Metal in its original sense. We sang all the choirs ourselves, we played everything ourselves, one guitar on one channel, the other on the other – strictly and always. We played the twin leads with two guitar players, not one guy playing both tracks. We even played the recorder (wooden flute) and the castanets ourselves. How much more Heavy Metal can you be?

Horns up! Let’s talk more about it. If your first album was released last year...the Mathmatics say that you preparaded all the pack in less than a year, how was it?

Titan: Yes, we really did. I can't remember how soon the King wrote the first songs for "King Is Rising" after "Kingdom Of The Hammer King", but it must have been quite early – and honestly, there are already bits and pieces for songs for a third album. I personally love doing new stuff, it's what I find extremely exciting about being in a band. Right now the demo-computer is empty, it's a thrill seeing it filling up again!
But we have become really very structured and focussed. We have equipment in the rehearsal studio at Castle Rockfort and we record and arrange all the time.

Who has more power inside the band to decide about the composition?

Titan: The KING has all the power! All songs are written by the KING, of course each of us has a certain realm he is responsible for. Dolph does the graphics and designs, the online things, orga work – Gino the financial stuff, K.K. takes care of the warehouse and the inventory, I sort of am the musical director and I do the talking. Plenty of work for everyone!

When listening to "King Is Rising" I was thinking: these guys have to burn it up on stage. In that sense your songs remind me of bands such as Hammerfall, Grave Digger, etc that are a bomb in the live shows

Titan: Very honestly: Yes, we are! We Are The Hammer, we bring you fire! We can certainly say that we do deliver, no matter how tired, how far travelled, how big or small the stage is, we love playing live, we love to sing about the King. And we proudly play all you hear, we sing everything live, no tapes except for the intro!

 The cover is stunning and we get the hammer in the middle, kind of an icon already?

Titan: The KING rules with the Reichshammer, so the hammer will always be an icon on the cover, absolutely! We always bring our Hammer on stage and I have used it to rest my feet and hands on in the studio as well – and the people love taking a picture with the hammer at the shows!

I can imagine it hehe. As I said before, I was surprised by the variety in your songs. For example, King Is Rising offers a great heavy power song, with excellent melodies

Titan: Thank you very much for this compliment! We have always been very much into keeping everything melodic, big chords, big melodies, the sort of songs you can directly understand when hearing them live. We are a live band – and we want the audience to sing for the Hammer King.

We get also some epic heavy metal approach in Warrior’s Reign

Titan: Ross The Boss once said to me "You know, everyone tries to play faster all the time. I try to play slower, that's more difficult" – he is right! I love to play moody and slow solos, so I am very much into doing epic stuff. We had Chancellor Of Glory on the first album, Warrior's Reign is like its successor, we also have Dolph's marching snare in the intro and the melodic bass lines. Actually the entire song was a jam session we recorded at Castle Rockfort, we only added vocals later on. I love the vibe of it!

Cool, a very interesting vision. Even we will find some speed metal dose in Battle Gorse. No one can say you repeat the same song once and once again

Titan: We are happy to have such a variety of songs in this very specialized musical path that Heavy Metal seems to be. Many people have requested more fast songs at our shows – and when we got the story of the Battle Gorse, we knew it needed to be fast song! The riff was first, the rest was a jam session. The song was good on the demo, but it got a killer in the studio. The high screams were the last thing I sang for this album. It even is on the studio report video!

What is your favorite song?

Titan: It changes, at the moment it is Last Hellriders, Battle Gorse and Eternal Tower Of Woe.

If you were to make a tribute album, what bands would you cover?

Titan: Ohlala! That's a tough one, really! Maybe we would spare out all our obvious influences like Iron Maiden, Judas Priest and so on and just do unexpected stuff like Simon and Garfunkel, Wishbone Ash and die ärzte – I can't tell! Maybe we would just never do that – who's ever been better than the original band itself?!

Anyway, we thank the effort answering. You have signed by Cruz del Sur Music and the official presentation of "King Is Rising" will be in Rome at the "Burn This Town Festival", sharing stage with other bands in the Italian label’s roster as Sacreed Steel. How do you feel about it?

Titan: That's really great! We are so much loking forward to that! Gerrit came on stage at a Keep It True show we played with Ross The Boss many years back and sang Secret Of Steel with me. So of course I am absolutely looking forward to meeting him again. I love Sacred Steel and I am also looking forward to seeing Gianluca Silva and Battle Ram again. Some old friends from Italy will also be there, so this is really gonna be one hell of a night to kick the second Hammer King chapter into action!

Apart of that event, do you have any other touring dates for next months?

Titan: We are constantly looking for shows and at the moment we are getting more shows than before. We will have a release party at the Hardrock Café in Kaiserslautern, there's Mannheim, Cologne and Ludwigshafen coming up. Two summer festivals have already been confirmed. But we are looking for support shows with bigger bands and we are looking for a booking agency. We want to play more and more, you never improve more than by playing live – and the King wants us to play His songs to as many people as possible.

Thanks Titan for this chat and we wish you a big success with the powerful "King Is Rising", hopefully we will see you through Spain!

Titan: Thank you very much, brother – the pleasure was all mine! Thanks a lot for the support! God bless the King, may the King bless you!

WHEEL OF SMOKE – Mindless Mass (2016)

3.Bad Shepherd
6.No More TV

Tristan Michiels – bass, vocals
Erik Heyns – lead guitar
Filip Remans – guitar, vocals
Jouk Op De Beeck - drums

Aunque posiblemente aquí, y en otros muchos sitios, sean unos totales desconocidos, estos belgas hacen con este ya su cuarto larga duración de su carrera y se les nota que son tipos con tablas y calidad, de esos discos que dejan un poso y te llaman a escucharlos reiteradamente. Mezclan heavy clásico con rock setentero y sonido new wave.

Empezamos calentando motores con Degeneration, un tema con abundancia de ritmos setenteros, voz rockera con tintes punk y algunos riffs a lo Black Sabbath, es decir, un tema de sabor muy añejo. Además, como ocurre a lo largo de todos los cortes del disco, las pistas son bastante largas y les permiten ir introduciendo diferentes elementos, logrando estructuras complejas pero muy interesantes. Este tema evoluciona en su parte final hacia un psycho rock y stoner con cierta épica que sube el nivel el corte.

Ruins tiene un inicio de rock progresivo con cambios de ritmo alocados, punteo de heavy clásico under a lo Brocas Helm, Cirith Ungol, un tema muy under donde destaca la instrumentación y la voz juega un rol secundario, especialmente destacable la base rítmica.

Bad Shepherd tiene un inicio con bajo y unos aires de rock alternativo, nos siguen ofreciendo nuevas facetas en su repertorio sonoro. Se recrean en riffs progresivos muy adictivos y la voz tarda en entrar, pero ahora lo hace con mucha más presencia, en plan occult metal con riffs muy de la nwobhm. A mitad de tema ralentizan el ritmo de manera genial, con mucho feeling y rematan la faena con un buen solo largo extenso y de heavy clásico, gran tema.

Unnamed arranca con unas acústicas agónicas y nuevo giro de tuerca en su sonido, en este caso nos ofrecen su cara doom que alternan con grandes riffs heavys y sonido british ochentero, un tema con una gran ambientación. Synchronicity tiene un inicio brutal con un riff a lo Pagan Altar, voces de ceromonia ocultista y ritmos sicodélicos y oscuros, un tema muy de la new wave, con sabor a unos Angel Witch, Death SS.

Ojo a No More TV, posiblemente el tema más completo y elaborado del disco. Se inicia con bajo y rítmicas disonantes, cambio de ritmo y velocidad speed pero con guitarras setenteras. Por medio bajan el ritmo y se meten en un rock a lo Motorhead pero no tan sucio. Se explayan en la ejecución de los solos, en una especie de jam session, para acabar volviendo a meterse en ritmos oscuros de heavy doom.

Se cierra este gran disco con Feral, básicamente un corte de rock setentero pero con continuos cambios de ritmo. Tampoco faltan las pausas y la melodía, grandes guitarras y sonido new wave en su vertiente más oscura. Una gran forma de acabar el disco. Esta banda belga bebe de las fuentes clásicas, elaborando grandes composiciones, complejas pero con mucha pegada.

Puntuación: 8,5/10

Freedom Call - master of light (2016)

1.Metal Is for Everyone
2.Hammer of the Gods
3.A World Beyond
4.Masters of Light
5.Kings Rise and Fall
6.Cradle of Angels
7.Emerald Skies          
8.Hail the Legend
9.Ghost Ballet
10.Rock the Nation
11. Riders in the Sky
12.High Up     

Chris Bay - Vocals, Guitars, Keyboards
Lars Rettkowitz - Guitars
Ilker Ersin - Bass
Ramy Ali – Drums

Noveno disco de los alemanes Freedom Call, una banda ya con muchos años en esto del power metal. Se puede decir que es una de las pocas bandas que sigue fiel a su estilo de toda la vida, el power metal puro y melódio, muy melódico y muy muy comercial, es decir, muy al estilo del que triunfaba y arrasaba en Europa a finales de los 90 y a principios de siglo. Como todos sabemos, en esos años parece que sólo existían bandas de power, pero como era de preveer la saturación de bandas significó también la crisis del estilo, algo que tenía que pasar tarde o temprano. Hoy en día vivimos tiempos donde lo que se lleva es conjugar estilos diferentes, por eso eso decía que estos alemanes son de las pocas bandas que todavía hacen power metal europeo a la antigua usanza.

Y eso es lo que nos espera en este nuevo capítulo de la banda, nuevo porque son nuevas composiciones pero no nos aguarda ninguna sorpresa respecto a lo que han hecho siempre. El power de Freedom Call es muy melódico y azucarado, muy happy si lo queréis decir así, siguiendo la estela de bandas como Gamma Ray o Helloween. Pero siempre han hecho especial hincapié en los coros, una profusión que puede llegar a resultar cansina. Este disco no va a ser la excepción, es una apuesta por la continuidad, hay bandas que evolucionan, no es el caso de estos alemanes.

Metal Is for Everyone abre el disco con los consabidos coros y el doble bombo a todo trapo, melodías y repetición del estribillo hasta la saciedad, lo mejor son las variaciones que van introduciendo en el ritmo, power de toda la vida.

Hammer of the Gods se inicia con un riff muy Helloween y los coros marca de la casa. Mucho teclado y punteo melódico no apto para diabéticos. A World Beyond arranca con un buen epic power riff y buenos arreglos de guitarras, pero en este tema los teclados ganan presencian y nos trasladan un poco al sonido de los Rhapsody.

Masters of Light es un medio tiempo con riffs y teclados de ambiente neoclásico, los típicos arreglos de voces y las aceleraciones a lo Stratovarius. Kings Rise and Fall se inicia con sintetizadores y es un tema de power clásico que me recuerda a los Edguy. Cradle of Angels es una balada que encaja muy bien a mitad de disco para romper un poco con el monólogo power melódico, uno de los temas más logrados, la ejecución de las guitarras es muy buena y recuerda al sonido de unos Guns and Roses.

Emerald Skies es heavy melódico, bajan el ritmo pero no la melodía y la pompa que se gastan en todos sus discos. Hail the Legend no inventa nada, power metal estándar. Sin embargo, Ghost Ballet es un tema más especial, un power space metal a lo Pagan Mind que le da más profundidad a su música.

Los últimos tres temas son power hasta el infinito y más alla, con todos los elementos típicos del tema. En resumen, que estos Freedom Call no inventan nada, y nunca lo han hecho, pero sí que hay que reconocerles su constancia y que tienen las ideas muy claras. Los fans de toda la vida disfrutarán de una nueva taza del caldo que les gusta, en cambio los que no disfruten tanto del power metal más comercial posiblemente no sean capaces ni de acabar el disco, porque no ofrece apenas alternativas dentro de ese sonido, no hay dudas con estos germanos, tienen las cartas bien marcadas.

Puntuación: 7/10

Pray for fire (by Vesen)

martes, 10 de enero de 2017

Interview with QARTZ

by Vpower

The Band: Quartz
Country: UK
Answers by: Tim Perry on behalf of Quartz

What we bring you here is a piece of Metal history. If you talk about the NWOBHM and you don’t mention QUARTZ, then something is definitely missing. So, it’s time to review a little their story, but also to talk about the new times and their new album “Fear No Evil”. With the line-up they currently show you can only expect the best, and you will get it, because they are back to deliver the goods once again, this is not a pose.  

Hello Tim and congratulations for you new album and your long heavy metal career

Thank you and a big hello to our “Metal Brothers” in Spain from of all the members of QUARTZ. We are all very excited about our new album “Fear No Evil” that will be released on the 28th October 2016 by High Roller Records. It may have taken us just a little longer than we anticipated or expected.

Before going with your current activity we would like to talk a little about your story, you are part of the Heavy Metal history and it is always a privilege to talk to such kind of bands. Looking back, how do you evaluate all these years, more than three decades?

The music industry has been a great place to be involved in over all these years and we have been fortunate to meet and rub shoulders with many great musicians and bands. There have been numerous ups and downs and some highs and lows during this time but to be accepted by generations of Rock, NWoBHM and Heavy Metal fans is very rewarding for us and we actually feel privileged to be part of this phenomenon.

If you had to choose, which would be your best moments as a band?

We all agree and are unanimous in saying it has to be getting our first recording contract for a full length album and then Tony Iommi offering to produce the album for us. Gig wise then back in the day playing the Reading Festival three times and touring with Black Sabbath and AC/DC amongst others. More recently it has to be being asked to play at Keep It True XVI shortly after we reformed the band and getting such an unbelievable reaction and reception from the crowd there that just blew us away. To see so many young people in the hall singing aloud our songs was an amazing sight.

Any funny time or facts from the past that you remember with a smile in your face?

Yes there were many funny times and jokes played whilst we were on the road touring.  For example at the Apollo Theatre in Glasgow we put cling film on most of the toilet pans in the venue and then we hung around to witness the chaos and carnage unfold once the doors were opened to the general public …  Sorry folks we apologise if you were one of our victims back then.

Hahaha at least so many years later they know all the truth about it... Quartz is a renowned band and usually linked to the NWOBHM, but you were already existing before the movement exploded, right?

You are correct. We formed a band towards the end of 1973 called BANDYLEGS and this band would transform into QUARTZ in 1977 ahead of our self-titled debut album release on Jet Records. With the name change many people associated with the music business thought that we were new and we assume that is probably why we were labelled NWoBHM back then by the press etc.

In the beginnings you were a heavy metal band based in Birmingham. How did that fact influence you?

That’s not strictly correct. We had played a variety of different and contrasting musical styles in our early formative years in various numerous bands dating back to the early 1960’s. Being from Birmingham and having bands around like BLACK SABBATH and LED ZEPPELIN literally on our door step we decided that was the kind of music we wanted to write and play and hopefully aspire to.

A goood reason. Do you still consider yourselves a band from somewhere or the globalization has changed it all and it does not matter anymore?

We are very proud to say we are from Birmingham which is today regarded to be the birthplace and the home of heavy metal music by many people from around the world.

Who can be named as the founding member of the band?

Mick Hopkins returned to Birmingham at the end of 1972 after living for a short while in Canada where he played in a group called FLUDD. Once back home Mick renewed his contacts with ex band members from LEMON TREE ie Derek Arnold and Taffy Taylor and ex band members from COPPERFIELD ie Derek Arnold and Malcolm Cope to form a new band called BANDYLEGS. Geoff Nicholls from WORLD OF OZ and JOHNNY NEAL & THE STARLINERS completed the line-up in December 1973 and actually played his first gig on New Years Eve.

Your first album, Quartz, and your second, Stand Up and Fight, put you in the map of the NWOBHM and the heavy metal in general. However, Against All Odds showed a much more commercial approach. With the vision of time, do you regret releasing that third album?

Obviously with the departure of three out of the five founding members from the band and with the difficult process of recruiting new members to try and fill their shoes the make-up and sound of the band did change during that period of time. We, that is Mick Hopkins and Malcolm Cope, made a conscious decision to try and become slightly more commercial in an attempt to try and break into the emerging markets at the time and primarily the USA if we could. We do not regret releasing Against All Odds but did experience a lot of difficulties during the recording and production stages so hence the title.

This 2016 you are releasing your fourth album, “Fear No Evil”. It seems you are back to your roots

With four founding original members returning including the ever present Mick Hopkins and Malcolm Cope plus returnees Derek Arnold and Geoff Nicholls it’s simply a case of “Back in the Band” AND business as usual without most of the usual pressures.

Talking about your current line-up, what new blood are we gonna find in Quartz?

The only new blood you will find in QUARTZ may be in the lyrics of the song “Dead Mans World” on the new album which is a song all about vampires in modern day times. Maybe you are referring there to David Garner our vocalist as new blood but actually David was briefly in the band back in 1981-1982 when he replaced Taffy who left in the summer of 1981 to pursue another musical direction. However, then David too left the band just before we went into the studio to record Against All Odds and many people don’t know that.

How long did you work in the composition of the album and how was all the process? Is it easier than 30 years ago?

After Geoff Nicholls was asked if we could write a couple of songs that might be used in a zombie film the rest of the songs on the album came fairly quickly with all the band members contributing in varying degrees. Having Geoff back in the fold with his prolific and proven lyric writing and compositional talents allied with his wealth of experience from his days in BLACK SABBATH has made things easier undoubtedly. What has changed is the technology for recording and producing music.

One thing is clear when you listen to the album from the very first moment: David Garner is a great vocalist, not only for heavy metal but also for hard rock, I would say

No arguments there from us David has a great voice and vocal range to suit several styles. He can virtually sing anything we ask him to and has a great ear for harmonies etc. which is a real bonus for the band. Also Geoff Nicholls is what you could call an “unsung hero” as he shares the lead vocals with David on our new album singing “Rock Bottom”, “Walking On Holy Water”, “Dangerous Game” and “Scream At The Devil”. This naturally brings a lot of subtle light and shade and some distinctive contrast to the album which is what we wanted to do from the outset.

Yes, having a monster as Nicholls on board makes everything eaiser, for sure. I think old fans will not miss Taffy Taylor or Geoff Bate, except for the old and good times. How did you hire Mr. David Garner?

When we finally decided to reform the band back in 2011 for initially a one off memorial charity gig in Birmingham we actually contacted Taffy Taylor as one of the five original members. Taffy wanted to do it but because of ill-health problems and with him living quite far away he ruled himself out. We then contacted David Garner and asked him if he was interested and after some initial reservations (and with Taffy’s blessings it should be noted) he eventually said yes so we didn’t hire him. David is a full and equal member of the band just like everyone else is. We still have contact with Geoff Bate who has his own band and is still working the circuit too.

I also would like to underline the great work on guitars, classic sound, great melodies and elegance all over. Mick Hopkins is really on fire

Mick comes up with some truly incredible riffs which can be the sole inspiration for a song. He continually amazes us week after week, month after month and year after year with more and more riffs when we meet to jam and work on stuff. Mick is a wonderfully gifted musician and guitar player but has also put in the hours and hours of practice over the past fifty years or so since turning professional at the age of sixteen and it clearly shows. We have to keep a fire extinguisher to hand at rehearsals these days for sure.

Hahaha... Also a great work by Geoff Nicholls on keys and the guys on the rhythm section, all in all a great team

Geoff is one of a kind and that is why Tony Iommi wanted him to help him when Ozzy and then Geezer left BLACK SABBATH and the reason he ended up staying for nearly twenty four years in total. Dek and Malc are the powerhouse and driving force behind the band and still are more than able to deliver the goods these days as you can hear.

Talking about the songs on the album, we can talk about old school heavy metal but also some modern approach as Scream at the Devil or the great Zombie Resurrection, right?

We are definitely what you call “Old School” but also want to develop and improve as musicians so we appreciate that you feel that we have also managed to achieve a modern approach with this album. Mick had some ideas for a zombie rhythm riff and had been working on how he wanted to portray the relentless marching of the undead swaying from side to side. He played it to us at rehearsals and we all loved it. Geoff mentioned that he had been asked to write two songs for a zombie movie and then he came up with his ideas for the melody and lyrics and everything worked extremely well we think. Scream at the Devil is one of Geoff’s offerings and he brings the demonic side to the bands writing from his time and long association with BLACK SABBATH.

What are the lyrics about?

We cover a wide range subject matter on the album. Some are drawn from life experiences, others have political and social comment and then we delve in to the fantasy realm with post nuclear survival including zombies, vampires and demons just for good measure.

Is this the album you wanted to create from the very beginning or the monster was growing and changing with time?

Basically both YES and NO as you can’t always tell when you are recording how things are going to work out. It’s a mixture of development and bottled up material waiting to be released fused with experimentation from other influences so it’s also a bit of a monster too. We just hope that people like it and they think it’s been well worth the wait (only time will tell now).

I believe with this great album you have no other chance than making some dates around. Anyone already? For instance, playing in the Keep It True would be a great place to celebrate it...

We love playing live so are really looking forward to the opportunity of promoting this album when it is released at the end of this month. We would really relish a return trip to Keep It True to showcase the new album if possible. As for future festivals and gigs we are playing at HARD ROCK HELL NWoBHM in Sheffield (England) on 3rd of December 2016 along with a spectacular line-up of other NWoBHM bands spanning Friday and Saturday which is going to be amazing. Also co-incidentally we are planning to come to Spain in the New Year to visit our Metal Brothers but details are not as yet confirmed with the promoter or the venue so keep checking on our official Facebook page at www.facebook.com/QuartzBackintheBand  for all the latest information and details.

We will be looking forward to that gig in Spain. What are your plans for the future?

We have already started work on our next album. Some songs have been completed and others are nearly completed with a few still in the early development stage. So all being well you won’t have to wait another thirty three years for another QUARTZ album.

Those are the best news we could hear! Thank you very much for your attention and welcome back QUARTZ!!!

No we would like to thank you for allowing us the time and opportunity of this interview and for providing the means and the platform for getting our message out there. We hope we have managed to answer all of your questions.

It was really cool and interesting, another lesson in Metal, thanks!

Rik Emmett & Resolution9 – res9 (2016)

1.Stand Still
2.Human Race (with Alex Lifeson)
3.I Sing (with James LaBrie)
4.My Cathedral
5.The Ghost of Shadow Town
6.When You Were My Baby
7.Sweet Tooth
8.Heads Up
9.Rest of My Life
10.End of the Line (with Lifeson and LaBrie)
11 Bonus Track: Grand Parade (with Gil Moore and Mike Levine)

Rik Emmatt – vocals, guitars
Dave Dunlop – guitars
Steve Skingley – keys, basss
Paul Delong – drums

Rik Emmett, un señor que no necesita presentación para cualquier clasicómano que se precie o para todo aquel que lleve unos cuantos años enganchado en esto del heavy y el rock. Rik es un superclase, esta nueva aventura no hace más que plasmar esa verdad una vez más en forma de disco. Pero no es una aventura en solitario, Rik ha reconocido que un proyecto de este tipo, complejo y trabajado, requiere en su opinión de apoyos, de gente que te eche una mano o de lo contrario estás más próximo al fracaso. Por ello ha contado con su equipo de gira de RESolution9, pero también con colaboraciones especiales en algunos temas como LaBrie (Dream Theater), Alex Lifeson (Rush) o sus compañeros de Triumph Gil Moore y Mike Levine.

La mayor parte del álbum fue grabado y mezclado en el famoso MetalWorks Estudios de Mississauga, donde Rik disfrutó de una cómoda re-conexión con sus propias raíces. De hecho, los otros dos miembros fundadores de Triumph (Gil Moore y Mike Levine, desde el trío que recibió discos de platino en Canadá y los EE.UU. en los años 70 y de los años 80) se unieron con Rik como invitados especiales en "The Grand Parade" y en "Suitcase Blues". Vamos con ello.

Stand Still arranca el disco con estilo de rock blues tradicional que nos confirma que Rik sigue teniendo una voz espléndida que conserva en plena forma, pero que además es un virtuoso de las seis cuerdas, de esos que encandilan, no de los que duermen a las ovejas. Un tema con unos riffs y una base rítmica hechos por el libro, con muy buenos arreglos de guitarra que enriquecen el tema. Un corte que va ganando en potencia poco a poco y tira sobre todo hacie el hard rock, con un solo largo y clásico, de los de toda la vida y un estribillo pegadizo que recuerdo a los Saxon en su vertiente rockera.

Human Race tiene un inicio con unos arpegios muy logrados y con un ritmo más relajado, tirando hacia el modo balada a lo Tesla, Reo Speedwagon, UFO, pero siempre ganando puntos y metiendo calidad en el tema a base de buenos solos y cambios de ritmo, buenas paradas y riff rockeros, con la participación de Alex Lifeson, otro superclase de la guitarra.

I Sing es uno de los temas en que participa LaBrie y se le nota su aportación, si bien ya he dicho que Emmett me parece un tipo con una voz espléndida para estas tesituras rockeras. Básicamente es una balada muy parada y sencilla para el lucimiento de las voces y un excelente solo.

My Cathedral tiene un inicio acústico a lo Rolling Stones; Clapton, de rollo setentero, un tema intimista, sacado de la máquina del tiempo, de rock sureño relajado y con un solo final al estilo bluesy que se marca Rik de mucha calidad.

The Ghost of Shadow Town se inicia lentamente y con unos acordes blueseros bastante lúgubres, con una base rítmica leve, solo con caja y metiendo luego acordes de rock blues muy clásicos a lo Gary Moore, Thin Lizzy o Deep Purple, es decir, continúa el sonido clásico cien por cien. When You Were My Baby es un tema donde se ve que esta gente disfruta de lo que hace, mezcla el modo blues con melodías latinas más alegres al estilo Santana y nos deja punteos por un tubo, acabando en una especie de jam session a lo BB King. Por cierto, la producción es excelente en todo momento, como no cabía esperar menos.

Sweet Tooth es otra balada de corte setentero con un toque sureño a lo Lynyrd Skynyrd, ideal para sacar a la chica a bailar o invitarla a una cerveza en el típico bar americano de decoración a base de madera y tarima donde toca la banda, solo dura dos minutos pero es muy entretenida.

Heads Up es un tema de hard rock, el tema que recuerda más al sonido Triumph de todo el disco, con una excelente base rítmica y solo de bandera. Rest of My Life tiene un inicio acústico y luego una melodía guitarrera de ambiente muy feliz y positivo, un tema muy relajado a lo Eagles, Fandango, con un gran trabajo a las guitarras, como siempre.

End of the Line es el tema donde se juntan dos pesos pesados como Lifeson y LaBrie, además del propio Rik, claro, y por supuesto la acaban liando. El tema se inicia con un riff tope hard rock ochentero americano, me recuerda a los Cinderella, con su punto macarra. Luego va adquiriendo un sonido de hard clásico a lo Scott Soto y nos deja solos y solos para deleitarse hasta la saciedad, con una sorpresa final en forma de aceleración heavy del tema, con un riff potente y punteando sin descanso. Posiblemente el mejor tema del disco, al menos el más potente, el final es realmente apoteósico.

Y para poner fin a la fiesta tenemos una bonus, Grand Parade, donde Rik se reencuentra con sus amigos de Triumph y nos ofrecen un corte muy personal, con sensaciones a flor de piel, guitarras acústicas, ritmos lentos, grandes melodías, es la típica canción que te imaginas en una road movie americana, viendo deslizarse el paisaje ante tus ojos mientras dejas volar la imaginación.

En definitiva, un gran disco, a la altura de lo que uno se espera de ese superclase que es Rik Emmett. No es un disco especialmente cañero, aunque tiene sus cortes de rock y en algún momento rozando el heavy, pero sí es un disco para catarlo lentamente, con una copa de whiskey en una mano y la pipa en la otra. Clase a raudales. Larga vida al señor Emmett.

Puntuación: 8,25/10

I'm a warrior (by Rob Rock)

viernes, 6 de enero de 2017

Interview with SACRED STEEL

by Vpower

The Band: Sacred Steel
Country: Germany
Answers by: Gerrit P. Mutz (vocals)

Sacred Steel is doing 20 years in the business and no better way to celebrate it than releasing their 9th album, “Heavy Metal Sacrifice”. It’s all you can expect from the guys, this is, heavy metal with all the classic ingredients. They are alive and kicking stronger than ever and we talk to Mr. Gerrit to know more about this great moment in time for Sacred Steel. 

Hello Gerrit and congratulations, because Sacred Steel is living 20 years of history in heavy metal. How do you feel about it?

Hey Alberto!! We feel absolutely great about this!! Of course we´ve had our ups and downs but that´s life. Doing this for 20 years was awesome most of the time.

You are celebrating it with a new album, “Heavy Metal Sacrifice”. Pure heavy metal as any fan will expect

Yeah, it´s the best way to celebrate 20 years: putting out a great testimony to metal itself and to our own legacy. And yes, it is pure heavy metal, nothing less, nothing more.

How long did you work in this new album?

The album was written over the course of only a few months. The biggest part we wrote together on 3 weekends in our rehearsal room. By blood, sweat and beer. The recording itself was done in 9 days. Very quick, very effective. We know what we do now, hehe. It only took us 20 years to find out how.

Hahaha, but you got it! The title “Heavy Metal Sacrifice” could not be more appropiate, it describes what you have done through the years and what we are going to find in the album

Exactly!! Our intention was to have a title that exactly tells the listener what to expect.
If you want to buy a cheese you also want to have „CHEESE“ written on front, right? :)

Totally true. As most of the bands that have been in the fight for so many years, Sacred Steel has gone through line up changes. What can you tell us about your current line up?

It´s the same line up since more than 10 years. It´s easy working if you have a team that is constant for so long.  There are not much surprises on a personal level anymore which makes it easier to focus on the goals you want to achive.

The band works as a team and “Heavy Metal Sacrifice” has no weak points, good songs from beginning to the end

I totally agree! In my opiniom it´s the most complete record we did since „Wargods of metal“.

I suscribe it. We are going to find some fast tempos as Hail The Godz of War and Let There Be Steel...

Well, we tried to have everything that makes a good metal record featured on this album. Fast stuff, epic stuff, melodic stuff. Big choruses and lots of different moods. I think that we were successful with that, yeh.

But also good melodies as those in Children of The Sky...

We love catchy stuff but we try to not make it too cheesy anymore. Back in the old days some of the stuff was a bit too much, nowadays we try to keep the cheesy part a bit more controlled. I love „Children“ It´s my fave track on this album indeed...

Melodies cooked at the right point, yeah. Bu also killer riffs as in Vulture Priest that reminds us about metal legends as Judas Priest

Sure, Priest was and is a big influence still! Metal has to feature big and prominent riffs and Priest were one of the best masters in that field.

On the whole, I would say it’s one of you best albums since you published Reborn in Steel back in 1997, full of epic and heavy sounds

Yes, totally, 100%, absolutely. I am with you on that.

“Heavy Metal Sacrifice” will be released on vinyl (limited gold - 200 copies - and regular black - 300 copies - with embossed logo on the cover), right?

--Yes. Correct. We are big vinyl maniacs and collectors, so we need to have our stuff released on vinyl.

Moreover, you are in the club of on of the best metal labels right now, Cruz del Sur Music, that means something, doesn’t it?

It does! We are very happy that they have decided to include us on their small but fine label roster. I think that they are the perfect label for a band like us.

With so many years on the stage, what are those especial moments you will never forget?

Oh, my gosh! Many, many great moments and some silly and painful ones. Looking back I´d say that the most memorable shows were all of our release shows for our albums. Also the first 2 times we played Wacken, back in the day when Wacken was still a kind of underground metal festival. Also our show at Keep It True 2004. And some smaller shows, sometimes with really small but dedicated audiences. Austria and Holland always ruled. And Greece, Spain and Italy!

As a German band how do you see the heavy metal scene in your country and the position of Sacred Steel on it?

We have one of the best and biggest scenes worldwide. We can be totally happy to be part of it. I have no clue where we are compared to other bands and what our position is. It´s not soccer though. We feel connected to each and every band out there, bigger or smaller than we are, that is fighting for the same cause: to keep the tradition of real metal alive!

Warriors united! Are you going to tour across Europe with your new album?

We will play as many weekend shows as possible, wherever possible. But we can´t do a European tour, we all have full dayjobs and we can´t take 3-4 weeks off and leave our jobs behind.

Hopefully you will make some date in Spain. Any especial events to celebrate your two decades in the Metal scene, Gerrit?

Our release show next Saturday will be really special, with lots of old guests, friends and surprises. Apart from that we have planned no special events just regular shows.

Thank you very much, Gerrit, and we wish you a big success with this “Heavy Metal Sacrifice”!

Thank you a lot for your support!! Much appreciated.

Kryptos - burn up the night (2016)

1.Blackstar Horizon    
2.Full Throttle 
3.The Summoning       
4.Unto Elysium
5.One Shot to Kill       
7.Prepare to Strike
8.Burn Up the Night

Ganesh K. - Bass, Vocals
Nolan Lewis - Guitars, Vocals
Rohit Chaturvedi - Guitars (lead)
Anthony Hoover - Drums

Atención a este lanzamiento que os traemos aquí, de lo más destacado a nivel de heavy metal en lo que va de año y salido del horno metalero de la India, de la lolcalidad de Banglore para más señas, un país que es una mina y que cada día está dando más y mejores bandas, lo cual no es nada extraño teniendo en cuenta los datos demográficos de la India, es que tienen que salir sí o sí a poco que se pongan a rascar las cuerdas. Pues bien, estos Krytops es una de las bandas más destacadas de su panorama metaero y además ya tienen un importante recorrido a lomos de sus monturas apocalípticas, pues este es su cuarto disco, estando los anteriores a muy buen nivel, y se formaron ya en 1998, y este Burn up the Night me ha dejado sencillamente maravillado.

Blackstar Horizon supone el arranque del disco a medio tiempo y guitarras clásicas del heavy metal. Luego le meten ritmos thrashers y es que aunque Kryptos es básicamente una banda de heavy metal lo que los hace especiales para mí es la oscuridad que consiguen meterle a las composiciones, en parte gracias a esas incursiones thrashers pero en buena medida gracias al pedazo de vocalista que tienen, con una voz cavernosa que eleva el nivel de los temas a la categoría de ultratumba, me recuerda en buena medida a los grandes americanos Tyrant, sobre todo los de su segundo disco. Las fuentes clásicas tampoco están ausentes, con el sonido Judas en la parada y posterior solo heavy doblando guitarras. Temazo de inicio.

Full Throttle tiene un inicio muy a lo power Usa. De nuevo, nos encontramos con un tema muy poderoso, de esos que hacen que tu cuello cobre total autonomía y vaya a su bola, sonido potente a lo Attacker, Tyrant. Riffs potentes e infecciosos que se infiltran debajo de la piel, y nos dejan dos solos en este corte, uno de heavy clásico y más tarde un segundo de aires speedicos para acabar el tema como el mítico Atila cuando avistaba un par de chozas en el horizonte...

The Summoning empieza con un riff heavy machacón , es un tema sencillo pero a la par intenso, que va ganando en velocidad y emoción. Aceleran el tema para meter el punteo y salen con un riff a lo Iced Earth de los primeros tiempos, un tema diseñado para el deporte del headbanging en directo o el air guitar.

Unto Elysium tiene una base heavy pero insertan riffs de estilo thrash old school, uno de los temas más tenebrosos del disco, con una voz penetrante. Por momentos me recuerdan a los Necronomicon alemanes o unos Sodom de los últimos tiempos, de esos que te meten también su punto de melodía en el tema. Este combo sabe buscar el equilibrio perfercto entre oscuridad, melodía y caña, el resultado es explosivo y tus vecinos probablemente se den cuenta de ello.

One Shot to Kill es un medio tiempo heavy con su pausa, como mandan los cánones, para meter melodía. Guitarras apocalípticas a lo Helstar y gran atmósfera. Después de la tralla que nos venían dando hasta ahora, este tema supone un poco de descanso para nuestro sufrido cuello pero el puño en alto no te lo quita nadie porque está repleto de feeling, cinco de cinco, es un heavy más tradicional, un poco a lo Grim Ripper, Savage, tiene un sabor especialmente ochentero.

Waverider sigue en vena heavy a lo Judas pero rozando el thrash por momentos por esa suciedad y oscuridad que le meten a las guitarras y que hace que su sonido sea tan especial y que tenga personalidad propia. Ralentización para meter un buen solo melódico y arrancada típica del heavy británico de los 80, épica y clasicismo a partes iguales.

Prepare to Strike nos ofrece riffs heavys y media velocidad, con un solo melódico realmente clásico, es como si pillases a unos Metal Church o unos Crimson Glory y les metieses esa voz salida de los infiernos pero que suena muy nítida, nada gorrina, que tiene el señor Lewis. Y terminamos el recorrido por este gran disco con Burn Up the Night, una vuelta de tuerca en su sonido heavy, ya que aquí le meten connotaciones doom en las guitarras, creando un gran clima de tenebrosidad en base a riffs oscuros y portentosos como la noche y la voz maléfica, un tema que en su épica me recuerda a los Atlantean Kodex pero que también tiene su punto añejo a lo nwobhm, sobre todo en la atmósfera que consiguen recrear y que nos llevará al pasado de bandas gloriosas de ese movimiento. Un gran colofón para un gran disco. Tienen actitud, tienen calidad técnica, buenas composiciones y le dan ese toque oscuro y sucio a su sonido que lo hace muy atractivo y potente al mismo tiempo, escucha obligada.

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