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Showing results for tags 'death metal'.
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Check out my band's first single off our upcoming Debut EP! Much appreciated. -
I hope you like the song. It took me a long time to come up with the lyrics and such. Plz I hope you take a listen and feel my heart.
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New track release from NY Extreme Metal project. Let me know what you think! https://deathoflicinius.bandcamp.com/track/in-dust-we-burn
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Discover new bands here: http://empathicaradio.podbean.com/. Subscribe for FREE on iTunes or Goggle Play Music.
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Just wanted to see what everyone's list for best albums of 2017 looks like ! Please post here. My top albums of 2017
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I hope I did descent on the vocals
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At MSW we now have a new song posted ahead of the album which should be out by Feb on various formats. Hope you enjoy!
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Boia are going to crush their enemies with a necrometal debut demo called "Chivalry of Death". It sounds faster, louder, deadlier and more blasphemous than ever and it's inspired by all the obscure 80's & 90's metal and Manowar! Chivalry of Death is out now on Tape & CD. Support: https://caligarirecords.bandcamp.com/album/chivalry-of-death-cd-tape WORSHIP METAL melding a crushing languid pace with blasts of necro-carnage! We all know this style works because its a decades old formula and sometimes a neanderthal trudge through time-honoured structures is all you need to get your head-a-banging! Fortunately, that’s exactly what Boia do….and they do it well! CADAVER GARDEN: a blitzkrieg of a release as it hits you swiftly but just continues to beat you over the head with frenzied riffs, blood thirsty vocals and relentlessly blasting drums. Before you know it the entire release is over and you are reaching for the play button again and again for more and more torment and mayhem. As quick as this release is it is packed to the bursting point with solid, well constructed and performed death metal that you can’t get enough of. Chivalry of Death is an effort that you don’t mind listening to numerous times and re-snapping your neck to. Also available at our online store.
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Hello,My name is Jerry. My band is called Wrath Upon Eden. We are a metal based out of Phoenix, Arizona, USA.Earlier this year, our bassist and my brother Bobby Bryant passed away. We are returning to the stage and playing a Memorial Show on January 6, 2018 honoring him. If you can donate or if you can attend if you are in the Arizona area, you can do so here.paypal.me/wrathuponeden.Hope all of you have a rocking day!\m/Thanks,Jerry Bryant -
The Finnish blackened death metal band Abhordium just released a new music video of the song Obsidian Chamber, which can be found on the new album titled Omega Prayer. Check it out and support the band if you find it interesting!
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Hey guys We've just released our debut EP through Hostile Media and would love to get it out to some fresh ears, please have a listen at any of these links and let us know what you think. \m/ Spotify ITunes YouTube Bandcamp CDs
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Emapthica Radio is a podcast dedicated to unsigned/independent Metal, Hardcore, & Punk artist. Listen to Smitty, Brendan, and Travis as they scour the world for underground artist to highlight on their show. Subscribe for FREE on iTunes, Google Play Music, or on their hosting site Podbean: http://empathicaradio.podbean.com/. Empathica Radio is working hard to help spread the music of these underground artist to a wider audience. Are you in a band and want some FREE promotion???? Submit your bands info & an audio file to [email protected] to get played on the show. Hail to the Underground!!!!!
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instrumental Progressive Instrumental Death/Black Metal EP
BloomFilter posted a topic in Promote Yourself
Great for listening to while studying, driving or programming. YouTube: Spotify: Bandcamp: https://bloomfilter.bandcamp.com/releases -
https://sonovleviathan.bandcamp.com/releases https://www.metal-archives.com/bands/Son_ov_Leviathan/ https://www.instagram.com/sonovleviathan https://www.facebook.com/sonovleviathan
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My new death metal band from Finland. I released my first single. I want to know how does it work? If its bad or good tell me. Thanks! http://Listen to Woods - Revenge of the Dead by Woods Band #np on #SoundCloud https://soundcloud.com/woods-band/woods-revenge-of-the-dead
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Hey guys My band is currently looking for a live drummer. We are a Melodic Death/Thrash metal band from Los Angeles, California ( some heavy influences are King Diamond, Fleshgod Apocalypse, obscura, Kalmah, the black dahlia murder, absu, exhumed, and more) We are currently in the works on finishing our first full length album and want to start gigging as heavily as possible once it is release. We are looking for a drummer who: *is 21 years or older *has high double kick and blast beat stamina and speed *has pro gear If interested send us an email at [email protected] and we can send you some samples of our music. \m/ \m/ -
Contrarian is a sometimes international progressive death metal collaboration featuring George Kollias of Nile on drums, and on "To Perceive Is To Suffer", their second full-length, he steps up to perform vocals as well. If you like mid-90s Death, there's a good chance you'll like this album. Comparisons to the early Floridian prog-death scene are obvious from the outset, but this recording is no mere hero worship; it offers a fresh and sincere take on the style, brimming with intricate yet memorable riffs, intelligent harmonies, a strong sense of melodic interplay between the bass and guitars, and a sterling drum performance. The mix is clear without feeling sterile, and the reverb and delay effects on the vocals lend them an atmospheric quality that's uncommon in modern DM. Technical chops are here in abundance, but the focus remains on concise and enjoyable songwriting. The vocals are mostly delivered in a harsh rasp; tonally, it recalls some black metal, but the vocal patterns and pronunciation show a strong influence from vintage Chuck Schuldiner. This album isn't flawless. The vocals are a bit lackluster; they fit the music well, both in tone and in placement, and they're certainly competent, but they lack a sense of emotive conviction that could make them truly shine. Kollias' high rasp on this album represents a change in direction from the guttural DM vocals of their debut, "Polemic"; I prefer the new sound, but fans of their earlier work may find it difficult to adapt. Also, as an album, it suffers a bit from being too much of a good thing. Nearly every song on here is well-paced and well-structured, but each of them hovers around the same length and tempo; they all kick ass in the same way, with the same mix of elements, and the result is that, despite the catchy and memorable nature of the riffs, no song truly stands out. The exception to this is a somewhat incongruous cover of the first half of "At Fate's Hands", by Fates Warning - a slow, clean tune delivered in a stilted but pleasant sing-song, that breaks up the riff-fest nicely but doesn't really add anything of its own. Regardless, this album is very good; I would highly recommend it to fans of old-school prog death, or any DM fan on the lookout for some exceptional melodic guitar work. Much like each individual song, it's short and to the point, clocking in at just under 35 minutes, and it's remained thoroughly engaging for me through many plays over the past several weeks. Get your ears on it: https://contrarianmetal.bandcamp.com/music
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Akercocke has always been an eclectic band. Eighteen years after the release of their debut, they're more eclectic than ever. "Renaissance In Extremis" finds their trademark pastiche of extreme metal, progressive rock, electronic textures, and moody atmospheres at its most varied and dynamic. Yet, for all of its expansiveness, there's still an evident connection with the brutish black/death metal of their early years. Longtime fans of the band (especially their previous two albums, 2005's "Words That Go Unspoken, Deeds That Go Undone" and 2007's "Antichrist") should feel right at home. For some newcomers, this album will be an acquired taste. The opening track, "Disappear", provides a fitting introduction to the variety of sounds on display: a thrashy DM gallop gives way to a short arpeggiated section that wouldn't be out of place on a late 70s Rush album, before dropping away into a lull of clean, atmospheric guitars and delicate vocals, and then building back up into melodic lead guitar excursions that swoop and dive through tasty chord changes. Later moments on the album offer dissonant black metal, restrained background keyboards, and even a lonely beach soundscape of birds and surf. In some hands, this kind of mashup could be a recipe for confusion; not so here. The songs are held together by excellent musicianship, a strong sense of pacing, and above all by the conviction with which they're delivered. The production is tight and clear; guitar tones breathe, with more vintage grit than crushing gain. The band is deft and energetic throughout. Engaging riffs are underpinned by thoughtful bass lines and propulsive drumming, sometimes serving as a backdrop for graceful guitar solos that never outstay their welcome. The solos themselves are a highlight of the album, tasteful and technically accomplished to a higher degree than on their previous outings. Technicality isn't the focus here, though; the main point of this album is the passion and human drama conveyed by the vocals. Frontman Jason Mendonça's voice is one of Akercocke's most defining features, and his vocals are at their most expressive on this album - snarling growls, blackened shrieks, stentorian bellows, and strained rasps, side by side with haunting cleans, frequently bordering on frailty. The overwrought theatricality of earlier albums has given way to a genuine, sometimes intimate quality that (to my ears, at least) is more mature, and no less powerful, than anything they've done to date. This is partly due to the lyrics; the overt, religious Satanism for which Akercocke is known has been put to the side in favor of songs about loss, personal struggle, and even some kind of redemption. The subject of the lyrics isn't always obvious, but the tension between despair, anger, and perseverance is clearly drawn. It's tempting to wonder what could have inspired this internal strife, and maybe that mystery is part of the appeal. "Renaissance In Extremis" won't connect with everyone. The frequency of apparent genre shifts may throw some listeners off, and the vocals can be polarizing. I was introduced to the band through their third album, "Choronzon", and it took me several months of on-and-off listening to finally warm up to the vocal approach. I can also see how fans of some of Akercocke's earlier material might be put off by the comparative fragility of some passages on this album. If you find yourself in any of those camps, all I can suggest is that you give this album a chance to grow. If, on the other hand, you're like me, this album may be the unexpected comeback you didn't know you'd been wanting for the past decade. In terms of texture, tonality, and vocal approach, it picks up where "Antichrist" left off; but it's far more focused, without the miscues and dead weight that made that album feel drab after the masterful "Words...". Akercocke may have been broken up for the past ten years, but they've returned with a vital addition to their catalog, retaining the essence of their sound while pushing their own boundaries. In terms of songwriting and production, this is their "lightest" recording to date; in my opinion, it's also one of their best, and my favorite release so far this year. They lost themselves in the wilderness, and now they're back to tell us all about it. Sit down and listen.
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I’ve been watching a bunch of nature documentaries recently. Dangerous animals only, for the most part, because I refuse to devote an hour of my life watching turtles mosey around the deep blue. Additionally, I’ve sought out very in-depth material so I can appreciate the animal being analyzed. As a result I’ve been able to watch a decent amount of material closely scrutinizing the habits of predators, and that’s given me a particularly good context for understanding Sadist’s 2015 album “Hyena”. This album is intended to track the habits of a hyena. Seems a bit on the nose, but bear with me; the album’s style is important. The album takes the listener on a markedly violent safari in an open-top jeep. Feel the wind in your hair, enjoy the natural splendor of the savannah, watch some animals murder and/or eat each other. Bring along some Mango Jive but for goodness sake leave your droewors back at the hut. Musically, as far as the metal goes – it’s a technical death/thrash album with the ferocity of the latter and the substance of the former. The vocals are higher-pitched snarls, characteristic of Sadist and perfect for the concept; in fact the entire production isolates the smooth bass to allow for moodier lines from said instrument. For the majority of the review, though, I’ll analyze track-by-track, since that best allows me to show what the album is evoking. “The Lonely Mountain” weights a little heavily on its central riff, a baffling decision given the strength of the rest of them. That being said, the mellow swells and forays here are essential to the concept. Generally, predators don’t hunt at full blast 24/7. There’s a lot of downtime in the veld. The sharp contrast between tranquility and violence is vital to setting the scene. That said, “Pachycrocuta” would have made a better opener. As a proof of concept for the album it’s a much tighter song that better maps out its piano and forte. The more prominent keyboard work in “Bouki” seemed a little out of place until I learned that the name indicates a malevolent trickster spirit in Senegambian and later Louisianan folklore. This somewhat melodramatic take suits the mythic nature of the character. That said, it doesn’t feel as dry as the first two tracks, which I would consider a point against it. “The Devil Riding the Evil Steed” begins even farther from what looks like the album’s central “theme” by having a much colder beginning straight out of a Forest Stream album. It’s this song that has a foreign language spoken in it. It’s not Xhosa or Zulu, neither does it appear to be Hausa or Yoruba, but whatever tongue it is, it works. That being said, this passage and the latter half of the song evoke a campfire tale told at the end of a long hunt, which ties back into the theme of the album nicely. The opening of “Scavenger and Thief” heaves in a certain sense, aping the haggard breathing of some heavy creature. Deriving from the ending of the previous track, and the lyrics here, we might interpret this as a nighttime hunt, especially given the eldritch keyboard. The song nicely evokes the idea of the hyena feeding heavily from some dying behemoth and fighting off competitors while doing so. The term “Gadawan Kura” refers to a type of traveling traditional show in northern Nigeria, in which domesticated hyenas often feature. That said, Gadawan Kura frequently travel into the cities to make their money, and it’s here that the The Tangent influence on this instrumental makes sense. As hyenas are usually heavily restrained and carted about in this alien, urban environment, the tranquil feel helps illustrate a chained beast meekly confused and out of its element taking in the sights and sounds of the metropolis. It’s kinda like Babe: Pig In the City as envisioned by Yes. “Eternal Enemies” begins with some plucking on what sounds like a musical bow, a popular traditional instrument across Africa, and particularly among the Xhosa and Zulu of South Africa. It’s definitely the most intense track, with plenty of lurching and screeching. Judging from the lyrics, perhaps a pack of hyenas trying to fight a lion. “African Devourers” has some of the most confusing lyrics, but they are nonetheless helpful. A morning hunt, driven by the enervating energy of a good night’s sleep. The Spiral Architect-style bass riffs particularly help give a focused air to the whole track, while the rest of the song evokes a group heading out on a mission. “Scratching Rocks” takes us to the nighttime and a territorial dispute between hyenas. The eldritch keyboards return. The relentless nature of the track makes more sense here, bringing to mind the need for constant vigilance and the fatigue brought on by a prolonged fight. Thankfully it manages this without being monotonous. Suddenly the ferocity stops, as is the case in the wild – and presumably the animals take stock of their gains and losses – before a few seconds more at the end, which from the lyrics sounds like a last attack where the one who fought to maintain its territory dies and dwells on the sum of its life. “Genital Mask” is, from a lyrical standpoint, one of the funniest songs I’ve ever seen. It makes almost no sense thanks to Sadist’s ESL writing, but it addresses the concept of hermaphrodism among hyenas owing to the female hyena’s bizarre anatomy, which consists of an elongated clitoris that splits for mating. Musically, this is probably the closest to sensual that the album ever gets, albeit through the lens of an amusingly Procrustean femdom sensibility and nowhere near the blatancy of the corny porno guitar and bass Gorod cheekily threw in to spice up "Varangian Paradise". That the album should end with a song about mating makes some sense, as this is frequently seen as the whole point of existence in the first place. Even the repetitive nature of the riffing makes sense for relatively obvious reasons. The flow of the song suggests not only mating, but also pregnancy, birth and the ensuing infant cannibalism that takes place among hyena babies. I’ve always noticed that in the grand sweep of folk metal African music usually gets left out. Makes some sense – I’ve heard quite a lot of traditional African music and it’s way too happy and tropical. Then again, Dan Swano, Skindred and even Equilibrium have managed to make Caribbean music work in metal, so it’s not impossible. The next best thing is something thematically evocative, which is what “Hyena” represents. It’s not perfect; Sadist could have paced out the textures better and deepened the nature sounds, perhaps taking influence from the largely untouchable Russo-Finnish metal masters Second To Sun. That being said, it’s a one-of-a-kind work and Sadist deserves credit for taking their vicious brand of tech-death on a sun-bleached adventure into the wild.
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EPHEMERALD is a metal band from Finland, formed in the autumn 2016 by Joni Snoro (ex-Frosttide), Lauri Myllylä (ex-Frosttide), Vesa Salovaara (Vorna) and Juho Suomi (Apocryfal & Prayed and Betrayed). Their music can be described as straightforward, fast-paced, epic and melodic metal music accompanied by huge orchestrations and both clean and harsh vocals. Today they released 2nd single called "Till the Sea Swallows Us Whole"! STREAM / BUY ➤ smarturl.it/ephemerald Links: Facebook Instagram Twitter
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First output of Skorch. Something between Death Metal, D-Beat, Thrash, Speed, Rock'n'Roll. Share if you like. Demo on Youtube Bandcamp Soundcloud
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Empathica Radio is a podcast that is looking for independent/unsigned Metal (all sub genres), Hardcore, and Punk bands to highlight on the show. We want to give as much exposure to the hard working true underground scene that we can. Please send a brief bio, an audio file of one of your songs, and a link to your website/social media page to [email protected] (PUT BAND NAME IN SUBJECT LINE) to get your band heard world wide for FREE. You can find us at http://empathicaradio.podbean.com/ or www.facebook.com/empathicaradio. Subscribe for FREE on iTunes or Google Play Music. -
Greetings! We're from Houston, Texas originally but have relocated to the New Orleans area last year. We mix and master everything in house and have been developing our sound for more than 10 years.We have a reputable portfolio and an extensive catalogue to share with the world. We're also looking for a vocalist that can take these songs and make them their own. Youtube: Facebook.com/openuseros
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