Review: Diabolus - Wasted Air (2-Track EP) [2015]

 Every now and again, I am fortunate to get my blog noticed simply via the wonders of the internet and a bit of facebook promotion. Recently, I got sent a 2 track EP by Diabolus. Hailing from Andover, UK, Diabolus play a mixture of first wave black metal and death metal with just a hint of hardcore reminiscent of bands like Liar and Arkangel.

   The title track, which already starts off sounding like a very professional recording with a spooky sample of, what sounds like, a dripping tap, creaking doors, girl screams and some intense build up music, is about 4 minutes of pure evil. For those into black metal and death metal, this is familiar territory. Vocalist Luke (if indeed it his him doing all parts) supplies brutal low pitched growls and the slightly more "possessed by the devil" style shrieking. It's so good that it makes you wonder if he's actually Scandinavian. There's fast riffing (Adam - lead guitar, Tim - rhythm guitar) and thunderous drumming (Kurt - drums), as is signature of death metal, but there is also slow heavy grooves, including a pretty heavy "beatdown" and a keyboard accompanied melodic section near the end. The melodic part, instead of making them sound like any other black metal band, is more reminiscent of an old British band called As She Screams, who used to incorporate keyboard into their mixture of death metal and hardcore.
  Second track, The Bay Harbour Butcher, starts off soft and melodic but then the blasts and growling join in and it's a scary ride from there on. As well as sounding far more black metal than Wasted Air throughout most of it, it also keeps in with modern metalcore, with the use of a slow, simple yet effective spacious groove which would make some people want to break things.

There's definitely something here which is a bit new compared to other bands out there, at least as far as I'm aware. As well as being perfectly suited to a black, grind or death metal show, they have something about them that would also go down well with hardcore fans, especially those of the early more metallic European sound. This EP is brutal and just polished enough to sound both professional and gritty at the same time. Although this isn't what I'm normally into and I'm not 100% taken in by the name, I'm hoping the band get themselves an album out soon and more people will become aware of Diabolus.

4/5

ARALLU VIDEO FOR "BLOODSHED AROUND"

    After having enjoyed Jerusalem black metal band Arallu live some months back, I was also impressed by their album Geniewar released earlier this year. From that album, the band have now released a new video for the song Bloodshed Around. As cool as the song is musically, with its insane blast beats, thunderous riffing, evil vocals and Middle Eastern rhythms, I have to say that the video is pretty disappointing. There's nothing wrong with doing a video on a budget but there's doing a video for cheap and then there's doing a cheap video; not quite the same thing. I am still confused as to whether there is some form of synopsis here or if it's just random things happening. Either way, I think the song itself is heavy and interesting enough on its own.

NEW TRACKS FROM RECENT AND UPCOMING RELEASES

  I came across a few tracks and videos from recent and upcoming releases by some great bands.

Millencolin - Sense & Sensibility

  Sense & Sensibility, not to be confused with the Jane Austin novel and period drama of the same name, is the first track to be released off of Swedish punk band Millencolin's upcoming album True Brew. Back in my mid teens, I was aware of Millencolin because of the music videos for songs like Fox and Kemp. I don't think I ever properly liked them back then; same thing could be said about a number of skate-punk bands. It took me until recent years to check out albums such as Pennybridge Pioneers, which I remember the release of, and For Monkeys to really get the band. This new track stays true to the Millencolin sound, including the unmistakable voice of frontman Nikola Sarcevic and the bouncy rhythm. The song tackles the subject of racism and I guess the irony behind having just as much hate for racists as the racists do against the minorities. The "You're just a racist clown to me" line of the chorus is catchy and poignant enough to get stuck in your head. The video is cool and simple, being shot in the back of a van..or at least made to look as such. For those who like videos of the band just rocking out, this will not disappoint.
If this track is anything to go by, True Brew has the potential to be another great Millencolin record for the adoring fans. Due for release April 28th.

Dead Sara - Mona Lisa

   I'm not entirely sure how it happened, but I only realised yesterday that I no longer liked Dead Sara on Facebook and had therefore completely missed the release of this single and video for Mona Lisa from upcoming second album Pleasure To Meet You. I fell in love with Dead Sara upon the discovery of the song and video for Weatherman. It's a bit of a task to label Dead Sara. They are a rock band but not simply a rock band. Their self titled debut is an array of groovy riffs, frontwoman Emily Armstrong's powerful vocals, heavy drumming and cool harmonies, managing to showcase both heavy headbanging tunes and beautiful ballads. I am hoping for the same, maybe even a tad more, from the followup. Mona Lisa, certainly seems to show off the band's more (dare I say it) "hipster" side, especially in the video. The song itself is certainly not a disappointment; it still has that familiar heavy Dead Sara sound which builds up to an "explosion" which you know must be getting everyone at their shows going nuts. I know I would be. They once again manage to come up with a catchy refrain in "I know what you want but it's not gonna be what you like". This is definitely a great easer for the album and I'm hoping to be "on it like a car bonnet" when Pleasure To Meet You drops late March.

Shredhead - Walk With The Dead 

   Shredhead are an Israeli metal band who are slowly but surely making a name for themselves abroad, having even relocated to Berlin during the recording of latest album Death is Righteous released back in January. The album was mixed and mastered by Tue Madsen (Suicide Silence, The Haunted, Sick Ot It All etc.). I haven't yet heard the album but if Walk With The Dead is anything to go by, it must be pretty damn cool. I have to admit, though, it's not really my thing. The video, however, is an absolute must-see. The South Park-esque animations show the band in different situations and encountering an absolute smorgasbord of celebrities and TV/Movie characters, including some Israeli local celebrities that I recognise who have helped the band throughout the career with both promotion, videos and shows. The video is worth seeing with friends so you can play a game where you need to write down everyone you see. The one with the most names wins!

 Bloodshot Eyes - Happy Ever After (Summer's Gone)

  I don't know that much about Bloodshot Eyes except that they are a melodic punk (I guess..) band from Hod Hasharon, Israel. If you like melodic pop punk, then check out their recent single Happy Ever After (Summer's Gone). Personally, for me, I think it may take time for me to really like it. There's something there...I just need to keep going back and looking for it. It's certainly not 2 dimensional, with dynamic changes which should appease a variety of punk/hardcore music lovers. It is, however, the vocals that I am finding slightly off putting but you can't do much about an accent. 

Raiden - The Devil's Handprint

  Finally, previewed this passed weekend, I bring you the heaviest track on this post. Raiden from Essex (which is basically very far east London, for those who don't know) are a band who I never thought would emerge with anything new. I knew they were doing the odd show here and there once or twice a year but they have actually brought out a new track. Raiden are one of those bands I was aware of in my teens when I was knocking about the HC scene in London. I believe they had a track on a compilation which at first I thought was too metal for me, but after a while appreciated it. I still never properly followed the band; I'm not even too sure I've ever seen them. They were/still are part of the EBD (Essex BeatDown) scene which is basically the insane younger brother to the LBU (London Black Up) scene. 
  New track, The Devil's Handprint, starts off with some beautiful yet also menacing classical guitar playing. Seeing as I was already familiar with the band, I knew this wouldn't last for long. As expected, after about a minute, the blastbeats, shredding and blood curdling screams kick in and we are treated to some proper metal. Also as standard, we get a beatdown near the end. It's short, which I normally prefer but I actually wish there was more. Hopefully this means there's a new record on the way and more tracks for me to check out.
  If you like death metal, black metal and/or beatdown hardcore, check out Raiden. 

Review: Arallu - Geniewar [2015]

Back in November, I reviewed a metal show called SPAWNFEST. One of the more interesting bands on that bill were Jerusalem black metallers Arallu. I was impressed by their stage presence, as well as their use of Middle Eastern (Mizrachi) rhythms, samples and traditional instruments. Their 5th studio album, GENIEWAR, released just this passed week on 1st January, brings you so much more of that. The album was produced and mixed along with Dory Bar Or from Eternal Gray and mastered in LA by Maor Applebaum (Rob Halford/Mayhem/Yngwie Malmsteen/etc..). At the show, I saw them as more of a thrash band. In this record, the black metal side to them really shines through.

  Album opener, Evil Finest, really helps set the tone of what we're expected from the record. There is an array of traditional Arabic/Middle Eastern instruments such as darbuka, other such percussion and string instruments such as the saz, oud and kanoon. The heavy guitars join in on the melody, reassuring us that this is indeed a metal record. Second but first proper track, From The Desert To The Ice, follows suit, incorporating similar instruments into the song's own intro. They then unleash a demonic riff that slowly works its way into a Middle Eastern rhythm before showcasing Arallu's Slayer style of metal. Song is over 7 minutes long and has a lot of dynamics and styles, including headbanging grooves, hair spinning thrashy parts and the bouncy Middle Eastern rhythm. If you had forgotten the name of the record, we are luckily reminded of it with the "GENIEWAR" gang chant. Everything already sounds super tight on this first track and the production, with all the extra instrumentation, is very impressive. Vocals by frontman and bassist Moti AKA "Butchered" are heavy and demonic, and we even get treated to a Tom Araya-like scream near the end. 

   Third track Bloodshed Around continues the Slayer theme but also incorporates a bit more of a black metal sound with blasts beats. At one point, the blast beats are accompanied by a Middle Eastern melody played on a traditional woodwind instrument (not sure which). This works surprisingly well and really shows how creative this band are and also how proud they are of their Middle Eastern heritage. Fourth track is a cover of Iron Maiden's Powerslave. This sounds as if it's being sung by someone different. Butchered's vocals are very black metal on this; very harsh and evil sounding, more so than on the previous tracks. They also seem to have managed to incorporate every single traditional Middle Eastern instrument possible throughout the track and especially at the song's middle section. The original track already has a bit of an Egyptian/Middle Eastern, which may be why they relate to it and chose to cover it is. However, it is the addition of traditional instruments and the extra evil vocals that really make this a "cover" and not just a carbon copy. 

  Fifth track Coronation starts with quite a simple riff which you expect is going to lead into slow pounding drums. Instead, we get uplifting 4/4 drumming accompanied by, almost tribal, darbuka rhythms.... which sounds amazing. The song swims in and out of an evil distorted vocal section and proper thrash and black metal bits, including anger-inducing blast beats. Pretty sure I even heard a shofar (ram's horn) at one point. At the 3:38 mark (yes...I find this worthy enough of actually displaying the exact time), there is what I would call a bit of a "beatdown", reminiscent of some of the more tougher hardcore I used to (and sometimes still do) listen to.

  On this album, and what I noticed in their shows, the band use Hebrew spoken word samples. We can hear these on sixth track Metal Troops 666, seventh track Giv'at HaTachmoshet (The Battle of Ammunition Hill) and on ninth track Tzook Eitan ("Operation Protective Edge"). When it comes to hearing Hebrew in this way, I am still not perfect at translating, but it all seems to be "war-based". For a band that considers themselves not to be a political band, they do take pride in their state and the army. This is a bit refreshing for me as a majority of people I meet through the punk scene are the exact opposite, having managed to get exemption from the army do community service instead. Song meanings and band beliefs aside, the album continues its merry way through thrash metal, Middle Eastern rhythms and blast beats, with Giv'at HaTachmoshet really standing as a bit different to the rest of the album. Although not stated on the promo packs (although possibly on the physical copies), both this and final track Hayalim Almonim (Unknown Soldiers) are re-workings of old Hebrew songs. In Giv'at... (original song), a spoken word sample leads into a thrashy riff that starts off reminiscent of the Joe 90 theme (for those unfamiliar, click here). It then has an almost punk feel about the song...like when Slayer covered punk and hardcore songs. There are even gang chant "woahs". This is however contrasted by the blast beats which help make the track just that bit more meNtal. It changes pace a little bit in the middle, sounding a bit more power metal. We then get back to the more punk bit after a mental blast beat section accompanied by more samples. This is almost a proper sing-a-long. Hayalim Almonim finishes off the album, incorporating a choir singing the original song's lyrics as the band play at slow, almost marching pace, building slightly, bit by bit.

  
Track list:
1) Evil Finest
2) From The Desert To The Ice
3) Bloodshed Around
4) Powerslave (Iron Maiden Cover)
5) Coronation
6) Metal Troops 666
7) Giv'at HaTachmoshet
8) Underworld Resistance
9) Tzook Eitan 
10) Hayalim Almonim

  For those of you who like their thrash and black metal (preferably not one or the other) then this is an audio delight. The arabic/Mizrachi flavours might not be for everyone, but if you're worldly and are already aware of bands such as Orphaned Land and even Nile, then this, and even the rest of Arallu's back catalogue, could be an interesting addition to your collection. Guitarists Gal and Omri play tight throughout, not needing to resort to overcomplicated (and sometimes unnecessary) shredding. Drummer Assaf is also impressive; shifting dynamics within songs. I am assuming that most of the additional percussion is also played by him, which is what really makes this album special. Their devotion to the army and acceptance of war certainly will not and does not agree with everyone, but musically this is a ridiculously enjoyable record. Even I, who does not really consider himself much of a metal fan nor fan of Mizrachi music, thinks this is a really interesting listen.

4.5/5

For my Israeli readers, Arallu's official release show takes place this Thursday, 8th January, at Gagarin, Tel Aviv. Doors 20:00. Entry is ₪60, which will include a copy of the album to each ticket holder. BARGAIN!    

Live Review: SPAWNFEST @ Gagarin, Tel Aviv [22nd November 2014]

Magor

Spawn Of Evil

State Of The Fart

Arallu

Canine 

Mechanigod

In Israel, music festivals of the literal sense are very rare, if not completely inexistent. No real festivals in a massive field with 2 main stages, a local band stage and an acoustic tent. No selection of big name international bands all coming to perform together. No camping for around 3 nights putting up with mud and littering. To someone like me, the term "festival" gets used too freely out here and loses it's meaning. Tonight, the Israeli metal scene sees "Spawnfest" arrive to the hidden live music hub Gagarin. When I first came to a Gagarin show, I didn't even know that this yard which also includes a studio and a gym, amongst other things, was even there. It lies behind the Naim dance studio opposite where the Sublime venue once was. I am unsure if Gagarin was always here but it has certainly acted as a replacement since Sublime's closure/move. Sublime used to be one of the main places for metal shows and "festivals" of this ilk. Now I have the chance to see if the smaller Gagarin is able to cope with drunken Israeli metallers.

Mechanigod

First up tonight is melodic metallers Mechanigod. Like most of the bands on the bill tonight, I don't really know much about this band. Despite having technically been a band since around 2008-9, the band's first album "Realms" was released last year. I have seen their name floating around a fair bit and assumed they were quite a big deal, so I'm surprised that they are the first band on this bill of 6 bands. 

Their opening song has that sort epic vibe a good opener always needs. We hear from the start the vocalist's (Eylon) range, which can switch from gruff Lamb of God style vocals to almost mizrachi (Middle Eastern) style singing. Eylon's vocals are actually quite flawless. Throughout the performance, I don't believe I hear a single bum note, loss of breath or crack in his voice. Upon further research, I've discovered that Eylon's a Canterbury lad. Whether that has any relevance to him being a good singer, I don't know. It is, however, interesting to me, a fellow British expat. I'm guessing he's one of those "I moved here when I was 3" types. 

The Lamb of God resemblance continues with the band's actual music style. I also cannot really fault the musicianship of the rest of the band. For a considerably young band, they have that essence of a big band. The guitar playing and drumming is all just at the right level of complicated that doesn't come off as over the top. My main issue is that it just doesn't seem all that new. Eylon, as great as I said he is, even has a typical "metal beard". (Not literally a beard made of metal...that would be uncomfortable and unnecessary.) The crowd seem to be enjoying it, though, with an actual "front row" of fans and the odd circle pit here and there. Nearer the end of their set, they played something with a Middle Eastern flavour. Having not yet heard their album, I do not know if it is included on it or what it is called. Hearing that suddenly perked me up a bit as it was a little different, although not totally unexpected for an Israeli band. It did help demonstrate the vocalist's range and that was a pleasure to witness. Personally, I think they could have been put on further up the bill but they acted as a more than suitable opening band. 

3.5/5

Canine

I have a confession to make. Originally Modiin based metalcore outfit Canine are the main reason I am here tonight. Them and I have a bit of a history. Some time last year, I joined them on drums for about a month. In the end, I wasn't really the most suit....Ok, I was practically told I wasn't good enough for them. Despite that, I have supported Eliav and Yuval (guitars) over the passed year in their search for the right  new members. In this most recent line-up, they have (Ben) Sadda on vocals, Bar on bass and Matan on drums.  I really like Canine, not just because I was once a part of them but because I genuinely like their songs. It's metalcore, but it has a bouncy groove and some good breakdowns. Especially the stuff off their Degeneration EP. Tonight, however, seemed to consist mostly of new songs; some I am familiar from my time with them and others that were brand spanking new. "Silence Before Chaos" is a killer of a tune that I enjoyed singing along to. "Mutiny" and "With The Crows In Sight" are almost unrecognisable to how I remember them. In a good way! They've perfected the songs into solid arrangements and have come together as a tight unit. An even newer song, Last Words Live Forever, seems to have some people in the crowd singing along. I don't know if I am just ridiculously uneducated and this was a cover song or that they have played it at a few other shows recently and people have become accustomed to it. Either way, the atmosphere was great during that song.
One thing the band does which I really like is the breakdowns. Having been into tuff guy and beatdown since my teens, I'm used to that lull just before the "chug-chug". That lull where the guitars are ringing out and you know that in the next few seconds all hell is going to break loose. Canine don't quite do it in the same way that I am used to; they do more metalcore breakdowns rather than hardcore beatdowns. Being more of a metal crowd, this gains the typical Israeli metal scene reaction of headbanging all round.
Making good use of his wireless pack, guitarist Eliav loves getting amongst the crowd during the set and getting people even more revved up. I find this sort of thing in general sometimes a bit too much, but the crowd did need a little bit of encouragement. The only criticisms to make of the band tonight are the fact that some of their best work was missing from the set and also the quality of clean vocals. Now, I for one know how difficult singing can be, but unfortunately Sadda couldn't quite hit his high notes in songs like Mutiny. Yuval's harmonies luckily helped in the other songs. Sadda could have just been having a bad night and I'm hoping he'll sound so much better next time I see them and on record.
3.5/5

Arallu

Now we start the part of the evening where I am not familiar with any of the bands. It begins with Jerusalem metal legends Arallu. I say legends despite not having heard of them before. Just goes to prove how out of the Israeli metal loop I am as later research shows they have technically been around for around 13 years. Arallu perform with combat face paint stripes which help add to the theatrics of their thrashy, Middle Eastern tinged death metal. At times sounding like Slayer, at other times sounding like Behemoth, Arallu are simply heavy. Adding to the theatrics, they use samples that seem to focus around war. That seems to be the essence of Arallu at the moment. There are also posters all over the place in regards to the album launch show at the beginning on the new year for their new album Geniewar.
I can't really be specific about songs as I am still unfamiliar with their material, but what I loved the most about this band was the Middle Eastern flavours. The drummer even had a darbuka on a stand and made good use of it. This addition didn't seem forced. The metal and the Middle Eastern rhythms just seem to flow into each other seamlessly. It's actually a shame there aren't more people here tonight. It's a good crowd for an underground show, but these guys are considered legends. Not only that, but they're giving a legendary performance which, albeit still getting circle pits and headbanging galore, should be in front of a much larger audience.
3.5/5

State Of The Fart

I may have very well got the order of Arallu and State Of The Fart mixed up as I ended up getting distracted by the band and didn't make any notes. State Of The Fart are not as sophisticated as they sound. Haha. Once again, this is a band I didn't bother checking out before hand. Wanted to leave it as a surprise. And boy, was I surprised.
So, you know that friend of yours who has a party trick he's been doing since he was a kid? Imagine if he started a band that was based around that party trick. That is essentially what State Of The Fart are. Tonight, the band plays a short setlist of 4-5 (like I say, I didn't make notes) cover songs incorporating the frontman's talent of making fart noises with his hands. It took me a while to actually notice he was using his hands mic'ed up and it wasn't the keyboardist. As my Hebrew is still not brilliant, I was unable to tell if the covers were exact word-for-word translations or not, apart from the acoustic version of Slayer's Angel of Death which was in English. That was probably the highlight of the set. They are definitely fun, but I really can't help but feel that this is an idea that should have stopped after high school graduation. Their friends seemed to love it. I personally just found them as a weird choice for this line-up.
2/5

Spawn Of Evil

Although the penultimate act of the night, Hadera based death metallers Spawn Of Evil are the band tonight's "festival" seems to be named after. Once again, this is a band I have heard nothing about before but they have been in existence for around 14 years in one form or another. Not only is that a reason I should have heard of them but they are really good.
The main vibe I got off the band is that they remind me a lot of Napalm Death. Not in a rip of way, but just similar intensity, similar stylings and even a frontman who looks quite a fair bit like ND's own "Barney" Greenway. Well....more like Dom Lawson (ex singer of Matter, singer/guitarist in Oaf and Metal Hammer writer). Anyway, that's not a bad thing. I love Napalm Death. Spawn Of Evil flip between thrashy parts and grooves and are basically just bloody heavy. I've decided that I need to really to do some more research on this band and listen to more of their stuff. I've discovered that they have done a death metal cover of Therapy's Screamager. That gets a major thumbs up from me on its own.
4/5

Magor

Final act tonight is Israeli black metallers Magor. Black metal could be considered by many in this world as a joke, mainly due to the black and white make-up, how silly the subject matter can sometimes be and because the videos are almost always set in dark forests. Magor tend to normally perform without face paint which makes them easier to take more seriously as musicians. Tonight, they have decided to paint the bottom half of their faces a sort of brown colour, almost giving the effect of restraint masks a la Hannibal Lecter. I actually find it to be a good look. Looks aside, let's focus on the music.
I can give or take black metal. Once in a while, I hear a great track and really get into it. It is the same here tonight. Magor played a great mixture of blast beats, melodic keyboard parts and metal grooves. They have that Behemoth sound and the crowd love it. Pumping their fists and chanting "hey" at every possible moment. I normally find that quite annoying and think it should really only be allowed at stadium shows for really big bands. Tonight, however, it all seems fitting as Magor put on a great performance and their musicianship is bang on. Obviously, being black metal, nothing really sticks in my head, but the music is diverse enough that it doesn't just sound like the same song over and over.
The main stand out point was the use of the long shofar. The shofar is traditionally a ram's horn that is blown in Jewish culture to mark both the end of a year and the beginning of a new one. I spotted it hanging off the mic stand at the beginning of the set and was unsure if it was just for show. I then got my answer when the frontman, Aviv, plays the shofar mid one of the songs. As interesting as it is to hear a shofar amidst a black metal song, I don't really see its significance. The shofar pretty much just has one tone and I don't feel it added anything special to the song.
If you like black metal and want to check out something a bit different, Magor's debut album Drawn To The Dark came out earlier this year. They are also worth checking out live. They got to play Wacken this year and I'm sure will be touring other areas in due course.
4/5