Videoclip of the Month!!!

Wednesday, December 12, 2012

Countess - On Wings of Defiance (review)

"I sighed at this album... and I sighed hard"

There have been times in my life, where I have been bored out of my brains like for instance; when I’m in English class, when I’m listening to someone do a speech about how we should live our lives or when I’m watching the school talent show (particularly because none of the acts have any talent anyway). Well, none of those activities I’ve mentioned about even come close to the boredom that I felt when listening to On Wings of Defiance. It is definitely the most boring black metal album out there today (I think it’s safe to assume). You’d think that after years and years in the business, that their music would have gotten better (it’s no wonder why these guys have stayed underground for their whole career). Not only is On Wings of Defiance a really, really boring album (strap yourself to a chair and make them listen to it… congratulations, you’ve just stopped time!) but it’s just retarded, plain and simple.

When I first looked at the cover of the album I thought “holy moly, the cover looks awesome, therefore the music contained within music also be awesome!” Yeah well I was wrong. Immediately when I hit play, my first thought was “oh no…” because I knew that reviewing this album would be a chore rather than a pleasant activity.

The logic escapes me on how a band that has been in the music industry for so long, can still have really shitty sound quality and distortion. I just don’t know sometimes, I just don’t know… The drumming sounds like someone hitting some kind of tin can with cling wrap as the skin, the guitars sound like those $5 toy guitars that parents buy for their children and the vocals, oh god, the vocals… they sound like a man being violated by a donkey, they don’t even black metalish or when I think about it, it doesn’t sound like any kind of vocals that I’ve heard from any genre (and I don’t mean that in a good way either). Even war metal style vocals sound better. I guess the bottom line to this is that the artist behind Countess have just real shitty musical skill overall to be honest. Upon doing a little bit more research, I found out that the Countess is now just a one man band and I had a sneaky feeling that was the case because one man bands typically sound stale (not all of them).

I don’t know if it’s just me, but Countess actually sounds like a satiric band, mocking the black metal industry. Even if that were true, that does not take away the fact that the music absolutely terrible. It just sounds so cheap. One good thing about On Wings of Defiance I guess is the fact that I can understand every single word that the vocalist utters (come to think about it, in black metal, that may not be such a good thing). But I giggled slightly when listening to the lyrics. Pretty much every second word the vocalist says is “war”, which is really annoying because not only do I have to listen to the same riffs over and over again, but the same god damn words too! Even though the artist tried to make things sounds a little different from song to song by adding slight changes to the song writing for example, adding keyboards to the mix (it’s worth pointing out that the keyboard is set to piano on On Wings of Defiance, which contributes to the albums cheapness). However, even these slight changes, these very rare changes throughout On Wings of Defiance does not make the music any better whatsoever, it’s still bland, it’s still stale, it’s still annoying and On Wings of Defiance is still terrible.

The intended audience for On Wings of Defiance is unclear to me, because the music sounds satiric in my opinion therefore it does not have the “kvltness” which tr00 black metalers look for, however it doesn’t really fit in with any other genre of music either, not even viking metal. It seems like the type music they’d play in a Scandinavian version of Playschool. This is where I believe is another spot that On Wings of Defiance falls, it lacks the attention (I’m assuming) of a really wide audience.

Just like the optimist I am, I try to look for the good things in music. Although there is little good done in On Wings of Defiance, there are certain moments (very rare moments) where I did think “hey this isn’t so bad”. There were some parts throughout On Wings of Defiance where the atmosphere and some of the actual feelings behind the music came into the forefront of the music and gave it some slight depth and character. Although I’ve heard this same style of atmosphere a million times before from many bands, it’s still worth giving Countess some credit for. I guess another thing I can commend Countess on is how the lyrics fit rather well with the intended mood. If only the actual music and the vocals used fit in with the music itself, then we’d have something here, something better than what we have now. But, these are only really minor things that I could find that are positive about On Wings of Defiance and this is not enough to save this from being one of the worst black metal releases that I’ve ever heard.

Overall, On Wings of Defiance is probably the worst black metal album I’ve heard in a really, really long time. Nothing is in time, the song writing is absolutely horrid and the musicianship… ahaha, let’s not even go there. Like I’ve mentioned before, you’d think that after years making music, that Countess would be at least good, sadly they aren’t even average, they’re well below average. Oh well there is no way in hell I’m going to be listening to any more Countess nor will I recommend these guys to any black metal fans out there because I’ve wasted my time. If I had to describe the quality of music, I’d say On Wings of Defiance is listenable, but tedious. I give Countess’s On Wings of Defiance a 7/20.


Tuesday, December 11, 2012

Unchained Breathing - Anthem (Single)

Artist : Unchained Breathing

Album : Anthem (Single)

Genre : Atmospheric Deathcore/Metalcore

Year : 2012

Country : Netherlands

Website : facebook , myspace , bandcamp

Tracks : 
1. Anthem

Size : 10.5mb

(also download it from their bandcamp)


Kill All The Sexy People - Glory Hole (review)

"Apart from the track tites, and the title of the EP itself... Kill All The Sexy People are quite a serious sounding band"

I was in my younger years when I heard my first real deathcore song (Bludgeoned to Death – Suicide Silence) and since then, I’ve heard many different styles and permutations deathcore. Some shit, some kickass and some… just downright stupid. When it comes to deciding which one (in my opinion) is worse; shit or stupid, I’d probably have to go with stupid because listening to an unintelligent (to say the least) album, for me, is a complete waste of time. I’m the type of person who likes to be doing something productive all the time (well… mostly). When I first read the title for this EP “Glory Hole”, I was like “oh boy here we go, another stupid deathcore band” (hey, you can’t blame me). Even when I first heard the opening guitar riffs, I immediately thought DANGER, SILLY POSER BAND. Then… in came the breakdown. Thank god, thank god that Kill All The Sexy People isn’t one of those time waster bands… thank god.

Automatically after hearing the opening breakdown, I was immediately relived and greeted by some kickass deathcore style guitar riffs and vocals. To say the least, the album title, the band’s name and track titles are very… crude. That being said, the actually music contained in Glory Hole is about as serious as serious can be. You can tell that the band actually put effort into creating some listenable deathcore because you know, it sounds good, which is something I can’t say for many deathcore releases out there.

I can’t help the feeling however, that individual components which make up Kill All The Sexy People’s sound is awfully generic; the vocals range from moderately low growls to moderately high screams, not to mention that they’re monotone as well the breakdowns- heard it all before, the guitar work- sounds catchy and the drumming is nothing spectacular. BUT! The real talent lies within their song writing and song structures, they’re pretty much perfect. I’ve listened to Glory Hole many times, frantically looking for some kind of imperfection in their music in which I can critique upon (the real reason I listened to Glory Hole many times because it’s awesome). There are no off beats, awkward sounding mixes, clumsy song writing or any kind of retardation of the music. The way that Kill All The Sexy People have managed to mix melody, heavy-ass breakdowns and plain and simple deathcore is outstanding in comparison to other bands which try too hard to be that “all-in-1” band.

I don’t know why, but the music doesn’t sound like pure deathcore. For me, it sounds like they have the general metalcore aesthetic mixed in with a deathcore structure. There seems to be a lot of resemblance between bands like Parkway Drive, specifically the Horizons era (of Parkway Drive that is). This gives the music a certain deepness in their music. The guitars have a lower pitch, and the drumming is deep, but snappy at the same time. Not to mention the fact that the vocals have smooth hardcore (but still appropriate for deathcore) texture, there is none of this outrageous “wailing” bullshit going on here (also, a few cleans on the side to lighten up the mood).

What I like about Glory Hole, is that Kill All The Sexy People haven’t tried too hard, to create a new vain of deathcore but they’ve managed to make slight touches and tweaks to their sound, to make it sound slightly different from your daily dose of deathcore. They like to alternate from heavy/droning breakdowns to quick, sharp and groovy style of breakdowns, and both of them have been implemented in their sound quite well. Also, sure the individual guitar riffs aren’t anything spectacular, the different combinations and range of pitch that they use also keeps the music rather interesting and listenable. There are times throughout Glory Hole where it reminds me of the guitar work in Bring me the Horizons Count Your Blessings album, not as technical however. So to me, the sheer variety of sounds which is presented in Glory Hole are enough to keep my interest, but not too much to make it sound like some kind of retarded amalgamation of sounds.

Overall, Glory Hole was a highly enjoyable EP to listen to. The balance of sounds as well as the song writing is seemingly perfect, the music was very interesting to listen to, they’ve obviously haven’t tried too hard to “make something new” and finally, they seem like the type of band which doesn’t take themselves too seriously but aren’t dumb about it. Glory Hole is an impressive EP, with the only things holding it back is the total lack of any connections being made with the listener, and the lack of sheer power behind the music. I would recommend Glory Hole to any deathcore or heavier metalcore fans out there, fans of; Parkway Drive and Bring me the Horizon in particular (and of course others which sound like them). I’d also like to recommend the tracks The Legend Of Grizzlyface and Dressed To Kill for first time listeners. Glory Hole is an awesome EP and I’m looking forward to seeing what they might bring to the table in future releases, 16/20.


A Legacy Unwritten - Six

Artist : A Legacy Unwritten

Album : Six

Genre : Deathcore

Year : 2012

Country : USA

Website : facebook

Tracks :
1. Insight
2. Transient
3. Approaching De-Creation
4. Six
5. Neural Reset
6. Illuminate

Size : 83.5mb


Prepared Like a Bride - Within World's Apart (review)

"I haven't come across any deathcore like this in a long, long time... thank god Preapared Like a Bride came around"

It never ceases to amaze me on how awesome the Australian metalcore/deathcore scene it. There is just so much talent tucked away in pretty much every city or town and it’s only until these bands show themselves that their presence is made known. Not only is Australia’s reputation well known within its own scene, but it still stands across the globe. When I first heard of Prepared Like a Bride, I automatically thought “should I, or shouldn’t I” (knowing that I could potentially be wasting much of my time). With a name like Prepared Like a Bride and an EP title like Within World's Apart, I automatically thought screamo or some kind of clichéd emo band. The last thing I was expecting was deathcore (and who could blame me), and not only that, but (I know I’ve said this a thousand times) some of the best deathcore I’ve ever heard and I’ve heard a lot of deathcore. I think the world should be prepared for Prepared Like a Bride. 

The opening breakdown in Within World's Apart (after the into that is) didn’t really give much away in terms of what kind of deathcore this was going to be, it was only until I started getting into the guts of the track (I’m not saying that the opening breakdown didn’t have guts, because it was gutsy as hell). Progressive deathcore it was and as many people may or may not know, I’m not the biggest fan of progressive deathcore. Bands which people jump up and down and scream in happiness and joy over, I simply stand there in silence or sigh as they deliver their overly generic material. However, Prepared Like a Bride are different, very different from everything else and in this case, that’s a great thing. The style of progressive deathcore they play is unlike anything I’ve ever heard in my life, sure when you really, really listen in close you may hear a few elements here and there from the more prominent progressive deathcore bands; The Contortionist, The Yellow Sign, Volumes and Born of Osiris. However, the way they’ve incorporated those elements into their music is what makes Prepared Like a Bride extra special and the song writing in Within World's Apart is simply awe inspiring. The guitar riffs are classic progressive deathcore, they give atmosphere and a sense of scale and feeling, it’s almost as if you were in a dream. 

However, listening to Within World's Apart a is not only just some kind of progressive experience where the music takes you to a land full of unicorns and magical fairies who are there to take care of your every fear and sadness, there are times where my head got bobbin hard. Unlike other progressive deathcore bands who try to emulate the most inspirational bands simply by having nothing but ambience in their music, Prepared Like a Bride can get pretty fucking heavy and as a result of that Within World's Apart is one of heaviest progressive deathcore bands I’ve ever heard. There is lots and lots of evidence in Within World's Apart of regular deathcore, and the way that Prepared Like a Bride has executed their brand of regular deathcore is amazing; the guitar riffs are of the correct tone, the drumming is blasty enough and the overall aesthetics of the music are all correct. What seems to also be evident here is the fact that Prepared Like a Bride don’t seem like one of those bands who are way too serious about making music, they’re not one of those bands who believe that if they play as hard as they can they’ll make it. Just the sounds and the way everything was put together in Within World's Apart just sounds like they’ve composed music that they’ve actually enjoyed making, it doesn’t sound forced at all. In return, it gives the listener a slightly eased feeling… which is awesome. 

Now there is one last elements that I can pick up in the background which is a vital component to their music because it holds everything else together. The melodic deathcore side to the music is not really the most conspicuous part of Prepared Like a Bide but if you listen really closely to some sections of Within World's Apart it sounds oddly melodic in comparison to the rest of the EP and when I mean melodic, I actually mean melodic deathcore. That’s right, three styles of deathcore in this single EP. Like I’ve mentioned before, the guitars can sometimes be progy, and some other times they can just be straight up deathcore, and other times they’re more like melodic death or melodic deathcore. You’ll never know what Prepared Like a Bride will pull out of the bag next when listening to Within World's Apart because there is a totally different listening experience around every corner and it’s this fact about Prepared Like a Bride’s Within World's Apart that makes it so awesome to listen to. There are some really complex riffs which are played at times, the style that a band like The Black Dahlia Murder or something like that would play. This just adds another extra dimension to their music which gives more people an excuse to listen and enjoy the music. 

Just like I’ve lightly touched on before, Prepared Like a Bride have a brutal side to their music. However, what I didn’t mention before was the sheer extent of the brutality and heaviness to their music. The breakdowns! These breakdowns are extremely, extremely heavy and they’re definitely right up there with the heaviest I’ve heard. I simply cannot describe the awesomeness of the breakdowns in Prepared Like a Bride because they just make the music so much better than if they were without or if they had chosen a different type of breakdown to use. That’s what I don’t like about other progressive deathcore bands, is that they all use the same damn breakdown over and over again. You know, that style of breakdown with it’s short sharp bursts of sound with a djenty guitar distortion. The ones here are the kind of breakdowns that you’d find in Suicide Silence’s first album The Cleansing. They’re heavy, they’re slow, they drag on for a long time and it sets a completely different scene in comparison to the rest of the lovey dovey stuff. Also the way the vocalist combines the heavy breakdowns with his guttural lows, is just awesome. The standout breakdown in Within World's Apart do get close is definitely the one in “Find Your Own Way Home”, it’s just awesome. 

The last thing I’d like to point out about Within World's Apart is that the band presents an upbeat atmosphere as well as a feeling of juvenility and youth throughout the most part of the EP. I don’t know why, but listening to Within World's Apart just made me feel like a teenager (apart from the fact that I am a teen), but it just makes me want to go out and have some fun just like a teenager should. However, I’m not sure if that’s just some kind of personal attachment I have to Within World's Apart or if others feel it to (I hope I’m normal). Well I guess I’ll just have to keep listening to this until I’m 80. 

One small complaint I have about Within Worlds Apart is the fact that there are so many useless tracks. I mean, there are two introductory tracks in this ep, why two? Can’t we just have one track by just merging both of them together? Because that would make much more sense if that was the case (I find it ironic how one of the intros is titled “No Time to Waste”). Also I know that track seven “Interlude” is the interlude for “Doritos” (it doesn’t take a rocket scientist to work that out) but why can’t it have a proper name like everything else. Call it “Dip” or “Guacamole”, “Interlude” seems rather bland considering that Within World's Apart is a very colourful EP. 

Overall, Within World's Apart was a wonderful listening experience. The perfect mix and balance of three styles of deathcore into a single distinctive sound and some emotional attachments along the way have allowed Prepared Like a Bride to unleash their maximum potential. Within World's Apart is definitely the kind of quality that I would expect from Australian deathcore and still proves to world that Australia’s deathcore scene is the best scene PERIOD! I highly recommend Within World's Apart to any deathcore junkies out there who is looking for something that is a little bit beyond what most other bands seem to be capable of. The three styles of deathcore here should be plenty to satisfy everyone’s need for deathcore. I’d also like to recommend the track “Find Your Own Way Home” too because it’s the perfect deathcore package; it has melody, kickass song writing awesome musicianship and heavy breakdowns. I was so glad that I came across this because without it I’d still be listening to the same old boring deathcore. I give Prepared Like a Bride’s Within Worlds Apart a 18/20.


Thursday, July 5, 2012

Interrupting Cow - Desecration of the Universe

Artist : Interrupting Cow

Album : Desecration of the Universe

Genre : Synthetic Deathcore

Year : 2012

Country : USA

Website : facebook , youtube

Tracks :
1. Ascension (Intro)
2. Trifecta of Pull
3. Desecration of the Universe
4. Gar Gar Binks
5. Seamonster Mermaid's Daughter
6. Ghost Firetruck
7. Pray for Plagues (Short Cover)

Size : 52mb


Wednesday, July 4, 2012

Architect of Dissonance - 8 Arms From The Deep

Artist : Architect of Dissonance

Album : 8 Arms From The Deep

Genre : Deathcore

Year : 2012

Country : Germany

Website : facebook , myspace

Tracks :
1. Intro
2. Machinegun
3. Beneath My Dignity
4. 8 Arms from the Deep
5. Pesticide
6. Blackwater Horizon

Size : 43mb


Malodorous - Augury of the Aborted

Artist : Malodorous

Album : Augury Of The Aborted

Genre : Brutal Death Metal

Year : 2012

Country : USA

Website : facebook , myspace

Tracks :
1. Augury of the Aborted
2. Embolus
3. Collector Of Flies

Size : 23mb


Sanhedrin - And On Into The Eternal Nether...Of Forgotten And Stricken Souls

Artist : Sanhedrin

Album : And On Into The Eternal Nether...Of Forgotten And Stricken Souls

Genre : Blackened Death Metal

Year : 2011

Country : UK

Website : facebook , youtube , myspace , twitter

Tracks :
1.And On Into The Eternal Nether...
2....Of Forgotten And Stricken Souls
3. Leviathan Restrained

Size : 37mb


Endless - Rebuild

Artist : Endless

Album : Rebuild

Genre : Hardcore / Metalcore

Year : 2011

Country : USA

Website : facebook

Tracks :
1. On Your Own
2. Destroyer
3. Rebuild
4. Marino Crane
5. Deceive Me

Size : 46mb


Saturday, June 23, 2012

Waking the Monolith - Self Titled EP

Artist : Waking the Monolith

Album : Self Titled EP

Genre : Metalcore

Year : 2012

Country : USA

Website : facebook , myspace

Tracks :
1. Path Of The Crusader
2. Martyr
3. Still Waiting (Sum 41 Cover)

Size : 25.5mb


Darkmaggedon Kult - Sun Without Light

Artist : Darkmaggedon Kult

Album : Sun Without Light

Genre : Raw Black Metal

Year : 2012

Country : Spain

Website : Myspace

Tracks :
1. Ea Lord of the Depths (Burzum Cover)
2. Worship
3. Horror Trance
4. Sun Without Light
5. Mayhem (Sepultura Cover)

Size : 18mb


Belle Haven - Chapter 0

Artist : Belle Haven

Album : Chapter 0

Genre : Screamo

Year : 2011

Country : Australia

Website : facebook , myspace

Tracks :
1. Tied to This Chair
2. When Dreams Take Over
3. My Nasty Breathing Habit...
4. Frostwyrm Part I
5. Frostwyrm Part II
6. Fatal Error Semi-Colon BlueScreen

Size : 50.5mb


Disschrist - Demo (2011)

Artist : Disschrist

Album : Demo (2011)

Genre : Raw Black Metal / Doom

Year : 2011

Country : Germany

Website :

Tracks :
1. Losing Control
2. Country
3. Scrambled Tofu
4. Apophenia
5. Torsten's Song

Size : 12mb


Tombstalker - Tombstalker

Artist : Tombstalker

Album : Tombstalker

Genre : Death Thrash Metal

Year : 2011

Country : USA

Website : Myspace , Reverbnation

Tracks :
1. Lecherous Aeon
2. Ocularis Terribus
3. Supreme Veneration of Death
4. Bastard Warriors

Size : 33mb


Friday, June 22, 2012

Bloodmoon - Orenda

Artist : Bloodmoon

Album : Orenda

Genre : Death Jazz

Year : 2012

Country : USA

Website : myspace

Tracks :
1. What Lies Beyond
2. As A Wind
3. Come Whatever Storm
4. Orenda
5. Shallow Berth
6. Riding Eternity pt. I

Size : 80mb


Curved Graves - Coming Up...

Artist : Curved Graves

Album : Coming Up...

Genre : Atmospheric Drone Metal

Year : 2012

Country : USA

Website : myspace

Tracks :
1. Let Go
2. Waning Gibbous
3. Caving In
4. Hovering and Feeling Nothing

Size : 42mb


De' Mask Thyself - This is Who We Are


Artist : De' Mask Thyself

Album : This is Who We Are

Genre : Deathcore

Year : 2012

Country : UK

Website : facebook , youtube

Tracks :
1. Press Play (Intro)
2. The Wrath
3. Parasitic Infection
4. Plain & Simple Stalking
5. Killing Through Insecurities

Size : 33mb


Sunday, June 3, 2012

Be'lakor - Of Breath and Bone (Review)

"May not be as good as Stone's Reach, but still a solid release"

It’s been a while since Be'lakor had put anything into the melodic death metal scene (since 2009 to be precise), and now they’re back with their all new album Of Breath and Bone. For those who don’t know, Be'lakor is a melodic death metal band hailing from the land down under (Australia). They are part of a very small melodic death metal movement in Australia, which has become recognised globally. What I like about Australian melodic death metal in comparison to their North American or European (Swedish in particular) counterparts is that the style of melodic death (I say most of the bands because there only has to be just one band which doesn’t follow suit for my absolute to be shot down) is calmer and more peaceful. Typically, when I think I melodic death metal, I think of some cheesy band trying to shovel melodic death metal down my ear canal at 200bpm. However, Australian melodic death is not like the others and Be'lakor is proof of that.

Of Breath and Bone, is one of those albums which focuses on creating an atmosphere rather than initiating an adrenaline rush on the listener. I mean, sure, some there are some sections in Of Breath and Bone where the speed of the music exceeds what most would consider “tranquil”, but none of it makes me want to suddenly burst out and do a 100m sprint (that’s 328.08399 feet for fellow Imperial users) even though, I would gladly head bang to most of the tracks on Of Breath and Bone. It’s not the most extreme, or brutal melodic death metal out there but it does body and mind moving at many points throughout the album. 

Like I’ve just mentioned, the main focal point in Of Breath and Bone is the whole atmospheric style of melodic death metal which they play. The guitars have a thin, yet, high pitched sound to them, which makes the music softer, the guitars aren’t going at full ball all the time. However, I believe that the vocals create the most part of the overall atmosphere. It’s a little hard to describe, but Be'lakor uses more of a smoother texture in their growls, and there is pretty much a complete absence of any kind of highs (ok, there might be some, but I cannot remember any time during Of Breath and Bone where they’ve taken prominence). Which is a really good thing in my opinion because it doesn’t spoil the whole “atmospheric” or “uplifting” feelings in the concept of melodic death metal.

Another thing that I like about Be’lakor  is that they are not afraid to experiment with different instruments to get their desired effect on the listener. Of Breath and Bone is full of acoustic passages, violins playing in the background as well as a few pianos here and there. This is there, probably to give the music some extra depth and meaning to it, as well as conforming with the whole “atmospheric” nature to their music. To be honest, if it wasn’t for these little side elements in Of Breath and Bone, the music would either; fall apart, or be plain as dog food and neither of which are particular appetizing for any melodic death metal fan. It’s the violins and pianos and acoustic passages which really whole the music together.

However, all this being said, I don’t really think they’ve pushed any boundaries with Of Breath and Bone. In fact, when comparing sheer music quality with Stone's Reach, Of Breath and Bone falls slightly too short. Sure, all the same elements are there in the music, but the power and feelings behind the music isn’t as outstanding. Also there was more depth in Stone’s Reach than there is in Of Breath and Bone. All of these things which gave Stone’s Reach it’s distinction as being one of the greatest melodic death metal releases ever to come out of Australia, if not, the world (although that’s highly opinionative) are seeming absent or sent so far back that they aren’t given credibility in Of Breath and Bone. This is where I believe Of Breath and Bone ultimately falls, wasted potential.

Not all is lost however, Of Breath and Bone has its moments which usually come in the form of cheerful as an Aussie riffs. In comparison with Stone’s Reach, Of Breath and Bone is the inferior release, it’s not because it’s worse than Stone’s Reach, it’s because it’s just not as good. There is nothing particularly bad with Of Breath and Bone, it’s just that the melodic death metal in Stone’s Reach was far better I have to admit. Even The Frail Tide, might be just that little bit better than, if not, on par with Of Breath and Bone which is odd because Be’lakor seem to be going down the ladder of awesomeness (when they should be going up it). All that being said however, in comparison with many other melodic death metal releases out there Of Breath and Bone is still in the very top of the top tier. Be’lakor are still one of the best melodic death metal bands by far and I would recommend Of Breath and Bone to anyone who loves melodic death or their previous albums. I’d also like to recommend the tracks By Moon and Star and Absit Omen. Overall, Of Breath and Bone might not be as good as Be’lakor’s current signature album, Stone’s Reach, but it’s still well worth a listen and shouldn’t disappoint. I give Be’lakor’s Of Breath and Bone a 15/20.


Interview With Michael McLeod and Luke Domic of Dream On, Dreamer

On the 26th of May 2011, Dream on, Dreamer played at the Cairns Tanks a long with two other supporting acts; Jimmy The One and Salacious. The atmosphere at the Tanks was amazing when Dream on, Dreamer took to the stage and even though the moshpit during their performance took a lot out of me, I was lucky enough to catch up with them post-performance to ask bass player and vocalist Michael and guitarist Luke some questions.
How was cairns?

Michael:  Cairns has been great, we played in a tank tonight so that was an experience, and the kids went mental. The drive up was really awesome too, the cool scenery and all, it’s very tropical up here, so yeah we enjoyed it.

So this is the first time Dream on, Dreamer have come to Cairns? I hope it’s not going to be last.

Michael:  Yeah, this was the first time, won’t be the last we hope… unless the world ends tomorrow.

Luke:  The band is not coming back, we’re sorry guys (laughs). Nah, Cairns was awesome we definitely want to come back. Seeing it was our first time, and it went to well so, we will get back soon, definitely.

Have you guys been touring lately?

Michael:  yeah, we’ve just got back from Perth and before that we were in the states.

Luke:  It’s been awesome! We’ve done a lot of awesome shows with a lot of rad bands, it’s been cool.

So have you guys thought about touring more internationally?

Michael:  So yeah, there was America and before that we were in Japan. So we’ve have had the pleasure of seeing a lot of the world.

Luke:  Europe

Michael:  Europe! We’ve done Europe, we’ve done Japan.

Luke:  France we’ve been there. Well that is a part of Europe but I thought I might make that very clear.

Michael:  For all you kids reading this and looking at a globe, France is in Europe. So yeah, we’ve been to New Zealand and we’re off to South East Asia in the upcoming months.

Luke:  We’re going to Jakarta

Michael:  Yeah; Jakarta, Indonesia-

Luke:  That is in Indonesia… Indonesia, Malaysia and Singapore… there you go (laughs). This interview has now turned into a lesson in-

Luke, Michael:  Geography!.. Heyyy!

Luke:  Fuck yeah to friendship.

So, in terms of mainstream bands music, who are your major influences?

Michael:  Mainstream bands? Erm…gee

Luke:  How mainstream are we talking? I like Coldplay.

Michael:  Coldplay is good. I think we’ve sort of get a lot of influence from a lot of different bands I guess; we’ve got a German in the band, we’ve got an American in the band so it’s sort of sourced throughout the whole world and we all listen to different stuff. I don’t really listen to a lot of the stuff that we actually play, which is a bit odd. But, yeah, Justin Bieber…

Luke:  WOW, that is true actually… Nah I lie (laughs)

So I’ve heard both the Hope EP and your debut album Heartbound, and Dream on, Dreamer seem to have a lot of different musical influences… is there any particular reason for that? Why not stick to a single influence?

Michael:  We just want to sound as different as we can even though it is hard in the style of music that we do play. We just want to branch out and mature.

Luke:  We all listen to so much different music that it’s hard to write music with difference influences. We just pull from different bands that we like and try to incorporate that into our sound and I think it works for us.

So you guys mentioned that you were just on the road, what’s the craziest thing you’ve done out of boredom?

Michael:  (laughs) I don’t think that’s for under 15’s. There’s been a lot of crazy things we done.

Luke:  Arrgh, I cannot think of anything at the top of my heard. I’ve should have came prepared, I would have had some rad stories to tell. Well, a lot of mischief is done while on tour with us.

Michael:  But not with other girls though, we have girlfriends… we love you! (laughs)

Luke: (laughs) Yeah, that’s where I was getting at. But yeah, we like to have fun on tour and it keeps things interesting.

You have mentioned girlfriends? But I’ve noticed here that, you have heaps of girl fans that scream and chant your names… how do you cope?
Michael:  Umm, it is a bit hard-

Luke:  I’m Michael and I love it! (laughs)

Michael:  I think it’s hard to avoid having girl fans, but yeah they just have to respect boundaries.

Luke:  We just treat them like any other fans

Michael:  We don’t make out with them or anything, but we give them hugs and stuff.

Luke:  Oooooh, we’re getting very dangerous right now.

Michael:  It’s something that our girl friends are cool with as well, and we sort of need that trust especially when you’re away on the road or overseas for a very long time.

When I was watching your performance tonight, I noticed that you had a lot of violent fans out there in the mosh-pit. Has there ever been a time on stage when you literally thought you feared for your life?
Michael:  Well, not so much feared, but we did once play in Ringwood and there was this guys who ripped a bamboo stick off the wall…

Luke:  First off, this guy stripped down and was just in his jocks and he went to grab a piece of bamboo and started moshing like crazy. I’m not sure if that’s what the kids are into these days. That was dangerous. But, we’ve seen some dudes do; back flips, cart-wheels… it’s all good fun until someone pulls out the bamboo stick (laughs).

Michael:  Yeah, we’ve had people jump on stage and we’ve gotta look out for them because guitars can sort of take off heads.

Luke: Oh yeah, I once hit a kid in the head with my guitar stock once and he told me at the next show we played. He loved it.

So is there anything final you would like to say to your fans on The Spirit of Metal Webzine and MINIRADMAN?

Michael: Umm, yeah, check out our music and I hope you enjoy it.

Thursday, May 10, 2012

Your Pain Is Endearing - The Turning of Tides (Review)

"Revitalizing interest in the deathcore scene"

Lately, I’ve been exploring the deep realms of the underground deathcore scene and I came across Your Pain Is Endearing. I must say, there is really nothing better than stumbling across an awesome band and Your Pain Is Endearing is an excellent find in my opinion. The “The Turning of Tides” EP is an awesome blend of deathcore and slight death metal influences. I have major respect for bands who keep the true sound deathcore alive whilst moving forward in terms of sheer quality of the music. Don’t get me wrong though, Your Pain Is Endearing isn’t just another cheap rip off of Whitechapel or something, they are more than that.

The main focal point in The Turning of Tides is definitely the deathcore aspect of their music and how they’ve pushed a relatively primitive form, into the deathcore scene. For a starter, you’ll notice that the song structure of each track is just a little more complex. The tempo is quicker, the range of pitch is a lot longer, and there seems to be a real defined way that they’ve made the quick interval changes in their music. I don’t know why, but I really enjoy this form of deathcore on top of most styles of deathcore. To sum Your Pain Is Endearing in a small nut shell, I’d have to say that they’re just a more pure deathcoreish version of the band As Blood Runs Black.

However, there is a very strong modern death metal influence in the music too. Notably, the vocals: deep, gutturally and ferocious. This adds to the solidness that has already been laid by the foundations of the deathcore elements in their music. They have more of a melodic death metalish aesthetic to their music rather than a pure deathcore one. They have combined the darkness of pure deathcore with the lightness of melodic death metal, so Your Pain Is Endearing is really somewhere in the middle of the two. Now, before you go off saying that “oh, I’m sick of all these melodic deathcore bands like As Blood Runs Black and The Black Dahlia Murder”. Noticed that I mentioned “pure deathcore”, or more specifically, the more death metalish style of deathcore (which is different from the more hardcorish style that other bands play). Although there are many, many bands out there who are playing this strain of deathcore, Your Pain Is Endearing have really executed The Turning of Tides quite well and I find that I stay interested for quite a long time.

I cannot do a deathcore EP analysis with taking a look at the breakdowns and the blast beats. In The Turning of Tides, a wide number of breakdown styles are used. From; quick, sharp and ear piercing ones, to; heavy, thick and slow. Because they have both melodic death metal and pure deathcore influences in their music, they are able to incorporate both types breakdowns into their music with out feeling plain or out-of-place. When it comes to the individual instrumental components of the music, nothing beats the blast beats in The Turning of Tides (pun intended!). They are absolutely amazing. The tone and pitch are spot on, the speed at which they’re played is extremely quick and appropriate speed is used in appropriate tempos and passages.

Overall, The Turning of Tides is one damn good EP which is a must for any hardcore deathcore fans out there. It features everything that deathcore fans could possibly want in a release. Killer breakdowns, killer blast beats, killer vocals, excellent song structure, variety in tracks, and the list goes on. As far as recommending tracks for The Turning of Tides, I’d say that “Lessons in Misanthropy” would be an excellent place to start. All this being said however, Your Pain Is Endearing haven’t really “pushed” or extended the genre of deathcore. So today, it gets a 16/20 from me.


Tuesday, May 8, 2012

Toscrew - Crawl (Review)

"They've wipped the drawing board and started with a fresh open mind"

It’s been a long while since I’ve last listened to a full doom metal release, but Toscrew, I think have refreshed the way I see the genre. I used to thing that all there was to doom metal was just some real thick and guitar work along with rougher than average clean vocals. However, I never knew that actual rhythm and depth could be introduced into the genre, which is something that Toscrew have done and have done quite well. For all those who have heard their debut album, Antiego, must know that the music on Crawl is extremely dissimilar, if not, nothing alike. They’ve definitely made a drastic change to their music and I guess would could say it was for the better.

To be honest, I believe that the more pure, and in you fucking face style of doom metal suits Toscrew more than the blackened death/doom mixture they had in Antiego. I felt that the main reason why Antiego didn’t release its full potential was simply because, the sound just didn’t suit them. The high pitch shrieks were incongruent with the guitar work, the drumming was quick however the overall pace of the music was quite slow and the structure was just really average. The only thing that they really did extremely well was the power behind the music itself. All I can say is that they’ve literally turned everything around with Crawl. There are no more; high pitch black metal shrieks, extremely fast and technical drumming, and I cannot forget to mention that the overall production of their EP is clearer, and stronger (i.e. the music stands out a lot better). Hot damn, I love it when bands improve from their previous material to something way better.

People tend to throw the word “catchy” around too often nowadays, “oh this is catchy” and “oh that is catchy”. This why I believe that the power of the world has been diluted (a bit like the word love: “I love pancakes” does not have the same implications as saying “I love *insert name here* ”) . Well, I rarely (if not ever) use this word, but I believe it is appropriate for Crawl. Some of the opening and mid-track riffs are so damn catchy, I could just re-play them over and over again. It’s the type of music that would go perfectly well with a bank robbery scene or footage of extreme sports like motocross. Thanks to the change in guitar tone, this is now possible. There would be no way in hell that the same effect could have been made using their old black metalish guitar tuning, it would have sounded silly and I would have started laughing at the music rather than head banging to it.

I don’t really know why, but I get a really relaxing feeling when I listen to Crawl. It’s not the type of music I would sleep to, but it would be something that I would most likely sit on a bus and listen to or something. The smoothness of the guitar tuning (along with clam and atmospheric guitar solos), and slow slack vocal style give this sense, which is something I didn’t feel from Antiego. It’s the type of music that I would imagine people who smoke weed or live the laid back surf/hippie lifestyle would listen to. Once again, another improvement in Crawl of Antiego. 

For odd reason, there seems to be more and more bands from the; African, Asian and European continents who are being “westernized”, i.e. attaining or incorporating American influences into not only the music, but the production of the albums/EP/demos themselves. Toscrew is one such band, first of all the lyrics are all in English, which means that we actually understand what the vocalist is saying and connect. Also, anyone who have heard Antiego would know that all the track titles are in Hungarian (perhaps it may have something to do with the fact that they’re from Hungary). However, all the track titles in Crawl are in english. This change in language preference may not seem very significant, but its implications are far more widespread than what some people may think. I noticed that many English speaking metal heads tend to have more respect for English speaking artists which hints that Toscrew is planning for a huge album or next release. This is why I believe that Toscrew may have leaned towards a more westernized sound to their music this time round.  

That being said, even though Toscrew have made some drastic changes to their music, some elements of their previous music which still lingers around in Crawl, two in specific; black metal and death metal. When you first listen to Crawl, initially you probably won’t notice either of these elements, but if you let yourself be immersed by the music, you should be able to detect  some slight hints of traces, particularly in the guitar riffs. Also there are a few moments where the vocalist lets out a black metal style scream (rather than a shriek). This adds an extra dimension to the music which was previously bland and boring (i.e. doom metal in general) and something that Toscrew have incorporated quite well in their music.

Overall, I strongly believe that Crawl is a major step forward for Toscrew. Mainly because it shows that they’ve been refining their sound, and what suits them best and this thick, in-your-face style of doom metal I think fits them. Unlike other doom metal bands who typically stick to one structure, one vocal style, one atmosphere, Toscrew have added layers and layers of dimension to their music to make it as interesting as possible and considering that this is the first doom metalish release that I didn’t fall asleep on is saying something. Also, this has to be one of the most perfectly and flawlessly produced EP I’ve heard, I could hear every beat and every sound wave. I know that Toscrew have really pulled out all the stops into giving us the most perfect taste of what we could possibly expect later in the year or early next year. As far as recommending tracks go, if you want something catchy I’d go with “No Chance”, if you want something a little more rough check out “Crawl” and if you like something with a little bit of jazziness to it, I’d go with “Answer Me”. I give Toscrew’s Crawl EP a 16/20.


*Sorry no preview tracks for this release, there should be one soon though!*

Monday, May 7, 2012

Despite Exile - Re-Evolve (Review)

"I thought there would never be progressive deathcore which was ground breaking... I was wrong!"

Ever since Italian progressive deathcore band Despite Exile released their debut EP Scarlet Reverie, people have been keeping a close eye on them (including me). It was evident in Scarlet Reverie that Despite Exile had potential, and it was only a case of sharpening their music just that little bit to make it seemingly perfect. Well, it’s barely a year later and since their debut EP and yet they have brought before us Re-Evolve. If anything, Re-Evolve will continue the evolution of the progressive deathcore genre because Despite Exile is the superior. When I first heard Scarlet Reverie, I knew that this band was going to be good. However, I was not prepared for the sheer awesomeness, or magnitude of Re-Evolve. This, small, miniscule, three track EP has the potential to change everything progressive deathcore has to offer.

To be quite honest, when I first went to check out this EP I was sceptical about how Despite Exile would capitalize on the already-awesome Scarlet Reverie EP because from experience, bands that usually pull of excellent fluke debuts tend to slacken off in future releases. But, holy shit, this assumption that I made for Re-Evolve was completely wrong and it’s now clear that Scarlet Reverie was not a fluke. As soon as I got past the opening of the first track “Oscillate”, I knew then, that Despite Exile are back better than ever before. I don’t recall hearing any progressive deathcore ever, with as much power and potency as the deathcore on Re-Evolve. Re-Evolve is much more powerful and higher quality than anything else I’ve heard, which includes Scarlet Reverie. It’s almost as if Despite Exile have created a new breed or super progressive deathcore, the breed which will hopefully extinguish all inferior breeds and species.

The first thing that hit on Re-Evolve was the style of progressive deathcore, it’s unlike anything I’ve ever heard. When I think of progressive deathcore I think of bands such as The Contortionist and The Yellow Sign, bands which don’t have much potency or power to their music. Also, the music doesn’t hold itself together well, probably because they’re going for a pure atmospheric or emotional feel to their music. This is where Despite Exile comes in because Despite Exile have the best of both worlds, which is the main reason why I think Re-Evolve and the Despite Exile themselves are so great. They have heavy as fuck breakdowns and brutal as fuck pig squeals (obviously influenced from deathcore and death metal) along with beautiful progressive and melodic hardcore guitar work. I’d like to make an emphasis on the deathcore influence here because it does take priority on Re-Evolve. Many bands seem to put an emphasis on the fact that they’re combining deathcore with progressive  or melodic influences and as a result, it becomes dull and boring. However, Despite Exile have put their emphasis on the deathcore element in their music.

Sure, there are only three tracks, and sure this is only an EP, but this packs more punch than some full length progressive deathcore albums. Now that’s definitely saying something. Well, if I were to make a list of all of the different elements in Re-Evolve, I would have an extremely large list. The really magical part however (or the part which I think is magical) is how they’ve put all of these components together.

Usually when I listen to progressive deathcore I find that it sounds rather plain and abstract. Abstract, in the sense that the musical structure itself doesn’t follow any kind of path or direction towards a climax, which is little bit confusing sometimes. But when you listen to Re-Evolve, you’ll probably think “you’re a liar miniradman, this is really confusing to follow”. Yeah, sure, it’s confusing at the beginning, but as you start to settle into the music, you can easily see that it leads up to a climax which is either a heavy ass fucking breakdown or a beautiful atmospheric passage. That being said, there are parts where the musical structure is as confusing as hell. This probably stems from the heavy technical deathcore, or math metal influences in their music. It’s a little hard to describe with words what it sounds exactly like, but I guess you could say it’s just regular mathcore/metalcore with a really, really heavy progressive deathcore aesthetic. The best thing is that even if you don’t like mathcore or metalcore, Despite Exile shouldn’t turn you off.

When it comes to musical talent and production of Re-Evolve, it is far more superior than Scarlet Reverie. At least in Scarlet Reverie you could tell that Despite Exile was a relatively young band, now, they’re all grown up and ready to fulfil. They no longer have that childish nature to their music, but sound more mature and serious this time round. I guess the seriousness also stems from the increased production quality of the music. The recording, the mixing and overall production of Re-Evolve is far better than the production of Scarlet Reverie. The guitars have more ‘crunch’, the drumming has more ‘snap’ and “oomph” to them and the vocals are raspier and ‘rawer’, Re-Evolve is the better release and considering that Scarlet Reverie is still one of my favourite debut EPs of all time, that’s big.

There really isn’t much to say about Re-Evolve, other than it really pushes the boundaries of the progressive deathcore genre and it’s almost perfection. I think Re-Evolve would appeal to pretty much every single -core fan out there.  Like I’ve mentioned before, there are three tracks and all of them are worth playing. “Oscillate” is the technical and deathcorish opening to the EP, “Perfection Neutralized” has an atmospheric (yet powerful), progressive and mathcorish style sound to it and “Mechanical” is the heavy as fuck track on the EP. So for first time listeners, take your pick. I think that all bands, if they are around enough, all have their time for greatness but I have a feeling the Despite Exile’s time is very, very soon. Re-Evolve is defiantly the perfect stepping stone towards an epic full length. I can’t wait to hear what they have in the future for us!


Disfiguring The Goddess - Sleeper (Review)

"And I thought Circle of Nine Was Bad"

Well, well, well… what do have here? Disfiguring the Goddess is back again only a year after releasing their disastrous album, Circle of Nine. The Sleeper EP is one EP that I’ve been waiting on the sidelines for, wondering to myself “will this make or break Disfiguring the Goddess?” because I loved their debut self titled album and all the demos and promos they’ve released prior to it. However, I’ve already mentioned that Circle of Nine was a complete and utter disaster. It is literally the worst thing I’ve heard. But, my hope and the hype fell miserably short to what I was truly expecting from Disfiguring the Goddess. I was really hoping that Disfiguring the Goddess would go back to their old form, which was; brutal, heavy, guttural and intense. However, I think its official that they’ve ditched everything that their older fans loved, for absolute shit (and when I mean absolute shit… I MEAN, ABSOLUTE SHIT!). This ship floated, hit an iceberg, and then sunk… now there is nothing left to salvage.

First of all, I must point out to everyone that this is NOT and I repeat, NOT, slamming or brutal at all. I’m sick of reading comments made about “OMG, this is ttly SlaMing and Hevy!” because the fact is, it’s not. All the components and elements that you’d typically expect from a normal slamming death metal band are as follows; heaviness, brutality (obviously), darkness and of course abrasiveness. There is and absence of any of those elements in the Sleeper EP, and if they actually existed (which is something I highly doubt), I’m definitely having trouble hearing it. Ok, sure, there may be some few “moments” of slamming brutality but a few moments does not equate to the entire EP or band being brutal. It’s like saying that We Butter the Bread With Butter is pure screamo, because of the track “Superföhn Bananendate”, or saying that Whitechapel is progressive deathcore because of some of the “moments” in the track “The Somatic Defilement”. It’s illogical, and wouldn’t make sense to any sane individual. If that wasn’t enough to convince you, let me put their music into perspective by breaking up the components of their sound and re-building them.The first step is to obtain djent and progressive technical metalcore song structures and guitar riffs. The second step is to deepen the tone of the guitars and add a little bit of extra distortion. The third step is to throw in some drumming, but not just any drumming… wait, scratch that, any drumming would do. Step four is to add some random synthetic sounds that have absolutely nothing to and completely unrelated to the rest of the music. Now all you have to do is make a cover and flip to a random page in the dictionary and place your finger anywhere on that page and there’s the EP title! Hey presto! You’ve just made the Sleeper EP (Sleeper? What the fuck, seriously?). Now I bet you’re probably thinking “but you forgot the slams and brutality”, don’t you mean… Disfiguring the Goddess have forgotten the slams and brutality? C’mon, let’s be reasonable, apart from the very few faint traces throughout Sleeper, Disfiguring the Goddess is not brutal death metal at all.

Oh no, NOT THE SYNTHETICS AGAIN! There was one thing that I just couldn’t stand about Circle of Nine, and that was the synthetics. Those keyboards and other computer generated sounds were so annoying! Not only are the synthetics back, but Disfiguring the Goddess have brought them to the forefront of their music. Yep, all those chimes, harps, choir and other randomly generated sounds are littered in random spots throughout Sleeper (25 Achievement Points if You Spot Them All!) and they are much worse than before. The one thing that I could possibly say about Circle of Nine is that they didn’t go overkill on the synthetics, but then again, there shouldn’t, really be any synthetics anywhere in brutal death metal. However in Sleeper, they are more than over-used and have little to no direction to them which gets me to ask: why are they there in the first place? because they aren’t contributing to the overall music quality. I believe that the synthetics are the worst part of The Sleeper, namely because they brought back that annoying choir keyboard sounds which drive me up the fucking wall. There is one point in the track “Queen Kingdom” where there is nothing but the choir keyboards playing which is without a doubt, the most annoying, most retarded and worst part of the EP. You could not believe how much I needed to pour a bottle of bleach in my ear canals just to not hear this. I know this is brutal death metal and all, but I should get happy angry when I listen to this, not angry angry… which is what is happening to me now. 

To be perfectly honest, I don’t give a flying fuck stick about whether or not Cameron (the original founder of Disfiguring the Goddess) also specialises in making electronic music. Ok, I respect that he may, perhaps be good at making electronic dance music and he is also fucking good at creating pure brutal death/deathcore (as heard in Disfiguring the Goddess’s previous works) but he cannot cross the two together. I’m sure that there are means an ways of crossing the two together to make some brutal death metal that sounds a least half decent, however, Cameron just simply doesn’t posses those skills… now look what happened. 

It seems that the more I listen to The Sleeper, the more I wonder why I’ve actually bothered to listen to it, or better yet, why I bothered to continue listening to this EP after the very first track. I know that deathcore and brutal death metal have the reputation of being really redundant and loopy genres, but at least other bands have some kind of variation to their sound. Unlike Disfiguring the Goddess, because on Sleeper, all you need to do is listen to the first track and you’ve heard it all. All the vocals, all the riffs, all the synths and all their retardedness can be experienced in a single track. Also, the way that the tracks are laid out in the EP makes no sense either. There is not intro or outro, or anything with leads up to a climax. In fact, I couldn’t even spot a climatic point in any of the tracks in Sleeper. This really disappointed me because, like in Circle of Nine, there were times where I could feel an extremely strong build up of tension to where I was expecting a heavy ass breakdown to come at the end. But time after time, they keep missing or ignoring those opportunities which tend to leave holes in the music. Holes which they have chosen to fill with silly out-of-place synthetics and other random shit.

What confuses me however, is why people continue to argue whether or not the vocalist inhales or exhales, but considering the fact that this is literally the worst excuse of death metal I’ve heard, why bother? because the vocals are the least of your worries. They only oscillate from extremely high pitch to extremely low pitch with no sense of depth or extra dimension. You know how you get that feeling when you know that a band has definitely used a drum machine to produce their music because it sounds awkwardly monotone and sterile. Well, that’s what the vocalist from Disfiguring the Goddess sounds like. So inhales, or exhales, it doesn’t count for shit either way.

Taking everything I’ve mentioned into account, I think I’ve firmly stated why I believe that this EP was obviously a rushed job and why Disfiguring the Goddess is now officially a skid mark on the underwear of brutal death and deathcore. To be fair, the only track that I thought that was listenable was “Daughter of Depths”. “Daughter of Depths” was actually heavy and sounded at least something like brutal death. Everything else, forget about it. I think I’ve thoroughly gone through the reasons why I think; Sleeper is NOT slamming death metal, Sleeper has terrible (and I mean terrible) synthetics and electronic elements and the sheer redundancy of the EP overall. There is very little scope and depth to Sleeper at all. If it wasn’t for the track “Daughter of Depths” I would probably say that Sleeper is worth maybe -1 or -2/20, but today I think it deserves a 1/20. I think it’s safe to say that I’ve lost all respect for Disfiguring the Goddess, and there is no way in hell that I’m going to be lining up to buy their upcoming album.


Saturday, May 5, 2012

Judge Our Hearts - Dead Weight

Artist : Judge Our Hearts

Album : Dead Weight

Genre : deathcore / hardcore

Year : 2011

Country : Australia

Website : facebook

Tracks :
1. 20:24
2. Dry Bones
3. Searching
4. Not My Own
5. Reign
6. Deadweight
7. On The Shoulders Of Giants
8. Having Eyes To See
9. Nothing Makes Us Move Like Fire
10. Abandon Ship
11. State Of Affairs
12. A broken Vessel
13. Outro

Size : 44mb