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Showing results for tags 'technical death metal'.
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Deathmetal Vocalist looking for projects
Vindret posted a topic in Looking For A Band!Hello, I am looking to work on some vocals for any deathmetal/deathcore group. I've been practicing metal vocals for around 4(ish) years now along with lyric writing. Clean singing is not my cup of tea and honestly can't do it very well either. I also have a 'solo' project I've been dabbling with for around 6 months now, I would love to work on it along with anything else other project you have in mind. I have a somewhat "Professional" setup, but definitely could use some upgrading and will be upgrading overtime. With COVID being a thing right now ideally it would be best for something online/file sharing. Here's a link with some of my practice https://www.instagram.com/p/CGhEzdGl39X/?utm_source=ig_web_copy_link Feel free to hit me up!
its been quite a while since i've done any projects, and i'm getting back in to writing/recording. Could really use a drummer or even an electronic drum programmer who can write tracks using cubase or fruity loops or something like that...let me know if interested at all..This is really my biggest passion in life and i would absolutely love nothing more than to get some full tracks produced and see where it goes...( i guess i didnt mention, i'll be playing and recording guitar) Here's a track i did some time ago..I'm not the greatest drum programmer/writer and i've revised the song and made it way more tech..so this is old and just a draft, but you can still get some idea of my style i guess.. link: https://clyp.it/nbvi551b PLEASE message me if interested at all, im in USA by the way, but doesnt really matter.
Hey guys, I'm Patrick from Germany and as my title already tells you I'm looking for a tech death online project. Just write me messages if I caught any of your interest! Here are some examples of my vocal range. There is much more possible but it all depends on the sound and that it fits :) Currently I'm playing in a melodeath band called The Course is Black: MeloDeath: https://www.youtube.com/watch?v=HzZFNhE8GvY I did some vocals for a local Deathmetal band from my city: Death: https://www.youtube.com/watch?v=VcfsB2vmQ24 I want to do this quite serious, because Tech Death is exactly what I want to sing/play. Just hit me up! If you got any questions feel free to ask.
Reasoning Reflections - Samasara
Reasoningreflections posted a topic in Promote YourselfWith our first full-length album, "Samsara", we hope to establish our presence in the scene. It's a short sci-fi story about cycles of death and rebith of the universe as viewed from the human perspective. With duality as the main premise, the story explores the various stages of the universe pivoted around the human presence and psyche. This is our first playthrough of the recent single Explosion Sets the Canvas (Samasara I). A thematic depiction of the birth of the universe, commonly known as the Big Bang, in terms of painting a piece of art.
Review - "Hyaena" by Sadist
Iceni posted a blog entry in Album ReviewsI’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.
Hello from Infected Dead
Infected-Lou posted a topic in Promote YourselfHey 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
With their previous release, "Deathless", Revocation truly found their identity and put out an exceptional record, using diverse styles along the way. "Great Is Our Sin" has taken Revocation's brand of music to an even higher level. It's progressive, it's technical, it's melodic, it's heavy; it's everything you could ask for from a metal band. For the most part, the songs have very complex structures, using melodies in every which way possible, taking progressive breaks at appropriate times, and using various rhythms to get the most out of the music. But, more importantly, the songs are not repetitive in sound or palette at all. Dave Davidson and Dan Gargiulo drew from their many influences, including jazz, blues, thrash metal, death metal, and much more, and carefully put together this album. Also, Brett Bamberger and Ash Pearson held together the rhythm section, using the creative freedom they had in order to complement the guitar playing of Davidson and Gargiulo masterfully. To really put the icing on the cake, Davidson's soloing, once again, blew my mind and brought me to places I have never been. He really has a gift for taking a song and using every aspect of it to his advantage in composing a solo, and he never ceases to further his technical ability and creative genius. Beyond the instruments, Davidson's vocals are as powerful as ever, firing a barrage of chilling screams and deep growls throughout the entire album. Furthermore, the lyrical content stayed interesting, as always. The lyrics mainly criticize contemporary society, exploiting social class prejudices, greed, mass ignorance, and an overall corrupt people. However, there are odd nods in the direction of religion and history throughout the album. Overall, I find this to be a nearly perfect album. I know Revocation still has more potential and room for improvement, but I would recommend it to any fan of metal. It really impressed me.