What are your favorite tracks? Leave a comment here below, or over on our posts on Facebook or Instagram. Read ahead… IF YOU DARE!

Erik T

Cradle of Filth – “Halloween II”.

I have to admit, I kind of struggled here. Even with metal generally being about all things spooky, bloody, gory, and scary, I had a hard time finding something that was literally ‘Halloween-y’ that fell in my wheelhouse. Especially stuff that wasn’t super cheesy. However, I settled on a cover song with ‘Halloween’ actually in the name, from a band I love, who is recently saw live, and is releasing an album this very Halloween, and went with Cradle of Filth, and their cover of The Misfits “Halloween II”, a song in Latin that talks about turning into a wolf. Perfect!

Acid Witch – “Sabbath of the Undead”.

My second song was a little easier, going with a ‘Witch’ theme, and it turns out underrated Stoner doomsters Acid Witch have a few  songs specifically about All Hallows Eve, but I went with “Sabbath of the Dead”, and it’s a loping, smoky, doozy of a number. “On the eve of Samhain On All Hallows’ Eve Disguise yourself as a corpse To ward off the harmful dead”.  Indeed.

Frank Rini

Bathory – “Call from the Grave”.

https://www.youtube.com/watch?v=maGzz_lCryA

From their third album, from 1987, Under the Sign of the Black Mark (My fave Bathory album).  So many songs conjuring up Halloween imagery.  A few other ones almost making it to my list were songs from Helloween, Mercyful Fate and King Diamond.  Bathory have always conjured up dark and evil images for me and since their debut album I always find myself listening to them a lot around Halloween.  Under the Sign of the Black Mark is one of my favorite blackened death metal albums, ever and “Call from the Grave”, for me is the perfect song in creating a Halloween vibe.  The ambience with the opening eerie keyboards and then the opening plodding evil riff, as the song stays in neutral, never getting fast.

But the brooding music is reminiscent of an old school 70’s slow burn horror movie.  Quorthon’s guitar tone on this album is spectacular, original and evil as crap.  The lyrics make it even more akin to something evil happening on Halloween.  Some snippets: God of heaven hear my cries of anguish, I’m in pain.  I’ve suffered a thousand deaths but I live on in vain…  I tear at the lid I’m suffering. In a cold and nameless grave. If hell is what awaits me. I feel no fright.  C’mon-how does some of those lyrics not conjure up some evil and frightening imagery?? Do not forget the creepy ending guitar solo, where Quorthon throws in the famous funeral death march melody…. The perfect Halloween song to quench your bloodthirsty appetite.

Steve K

Hellripper – “Blood Orgy of the She Devils”.

For me – Halloween is all about campy fun. Being serious about not being at all serious. It’s the one time where we can all collectively find delight and joy in the darker, bloodier, more evil aspects of life that I generally want to celebrate most, if not all of the 365 days in a year. After all, if you can find fun in thee inevitability of death, it makes bearing the horrors of life in general much easier, right?! Right.

As such, I tend to gravitate to those bands out there gleefully sharing in that campy, blood-soaked, devil-worshipping and demon-summoning fun. One of the best young bands today carrying that torch is Scotland’s Hellripper. Front man and mastermind James McBain has been churning out some truly fun and inspired speed metal riffs with this project since 2016’s Complete and Total Fucking Mayhem, but last year’s The Affair of Poisons really turned the riffs and mayhem up to 11 with a total celebration of everything heretical horror and gore. The whole album itself makes for a fantastic Halloween playlist, but “Blood Orgy of the She Devils,” named after the outrageous 1974 cult classic, is maybe the most fun of the bunch. Give ‘er a rip and rage!

Witchery – “Witchery”.

But of course, the new school can’t carry the torch without the old school lighting the flame, and one of of the best of the best to celebrate the tradition of all-out-camp, in my opinion, is eternal-side-project to  Sharlee D’Angelo, Patrick Jensen and Richard Rimfält: Witchery.

I know I’m in a minority here, but aside from D’Angelo’s work with  Mercyful Fate, I’d take Witchery‘s body of work over any of the current or former band member’s collective back catalogue (an illustrious list including legends like The Haunted, Seance, Arch Enemy, Opeth, Bloodbath and Marduk). I guess it just comes down to a stylistic preference for me, but it always seemed like whoever was involved with this band at any given time were having A LOT more fun with Witchery than they were with any of their other jobs. Of course, this band was also built on a foundation of tongue-in-cheek horror tropes – so that helps. Images of murder, graveyard mayhem, a little necrophilia thrown in just for kicks – this was not a band to be taken too seriously. But that doesn’t mean the band weren’t capable of putting together some seriously fun songs and riffs! The band’s self-titled anthem serves as a perfect example of the kind of high-speed fuckery this talented gathering of musicians is capable of, and it the perfect compliment to all your Halloween shenanigans.

So we here at TeethoftheDivine are going to help you out. First, we are going to increase our review output for a while, so you #staythefuckhome and quarantined folks have something to read while you go out of your mind around your families. Enjoy even more metal to get you through it!!! Second, we have put together a quick virus/quarantine themed feature for you to enjoy.

I mean seriously, is there anything more metal than an Apocalypse-causing virus? We here at TeethoftheDivine don’t think so. So our non-essential, self-quarantined staff has put together a list of their favorite apocalypse/viral/quarantine-themed set of songs to fit the current times. Enjoy!

Erik T.

The Rotted, “28 Days Later” from Get Dead or Die Trying, 2008.

https://www.youtube.com/watch?v=i1R0jEKJP5Q

This was an easy one for me, though it certainly could be perceived as cheating as there are no lyrics that actually deal with viral outbreaks or quarantines. The movie from which the song is taken still stands as one of the greatest zombie/virus movies of this generation (I know, I know, they technically are not zombies!) UK grinders The Rotted covered John Murphy’s simple, already tense main theme and gave it a haunting metal heft that’s absolutely perfect for the subject matter. It’s the perfect soundtrack for the eerily quiet streets that the current quarantine/lockdown has given us.

Frank Rini

https://youtu.be/pF_re9gHNW8

AIDS: Acquired immunodeficiency syndrome, a syndrome caused by the infection with the human immunodeficiency virus (HIV), with ensuing compromise of the body’s immune system…

Granted, this isn’t typically what one would normally think of when it comes to the issue of viruses/pandemics. Especially, when in relation to heavy metal songs or albums. I mean a disease that was at first associated with homosexuality, STD’s, and intravenous drug use doesn’t really conjure up scenes of a Walking Dead like or Mad Max-ian type of apocalyptic society and/or survival. Realistically, if you are over the age of 40 then the AIDS epidemic was a real life issue and possible concern for you at some point. If you happen to be between 40 and 50, like myself, then you were most likely young enough to be at least half-assed scared of it durng the ’80’s and even early ’90’s. This was a disease with no cure, and in 1985, 13 year old Ryan White put a down home American face to the disease when contracting it via a blood transfusion. Much like some people today in the midst of this Covid-19 situation, Ryan, and those like him, faced bullying, persecution, bigotry, prejudice, death threats, and over all hatred for something he/they had no control of in their lives. It was a sad, confused, and scary time then, a time that almost seems forgotten, other than the fact that we still treat others as just as shitty today as we did then.

Leave it to GWAR though to keep the topic relevant and tackle it, back in 1995 with “The New Plague”, the only way that they knew how; with a total lack of respect and regard, and a histerically ill-humored take that poked fun in a most insulting manner, and touched upon issues while seemingly maintaining their image of the insensitive scumdogs that they were/are. The light-hearted nature musically, fat bass lines, and sing-along choruses are to die for…literally, in the eyes of the late and great Oderus Urungus…Good stuff…The track also brings back nostalgic memories of the first time I ever saw GWAR live, back in November of 1995. I can remember making the three hour drive to a neighboring town after work and then making the suicide run back after immersing myself in the fake blood and wad eruptions that make up a GWAR show. After going to work the following morning, lacking sleep and covered with stained skin, my job let me have the day off  for rest and repair. How awesome is that?

Nick K

Virus “The Black Flux” album.

Luke Saunders

Bloodbath – “Ominous Bloodvomit” from Breedng Death

During these crazy, unprecedented times, it’s never been more fitting to find an escape in the wonderful world of metal. I found it a little tricky thinking of specific virus themed songs but felt that the gore soaked, disease riddled themes, drama and horror infused in the buzzsaw art of classic old school death forms a fitting ode to our current predicament as any.

Mars Budziszewski

Medecophobic  “Pandemic of Existence” from Pandemic of Existence.

https://www.youtube.com/watch?v=YrcVgdxpy2E

Covid-19 has the globe in a precarious, unprecedented state of action, yet total lack of action, as implied by the word quarantine, resulting in those employed in certain ‘non-essential’ sectors of the economy being out on their ass. However, for that unfortunate demographic of unemployed metal, has there EVER been a better time to guiltlessly go into a YouTube music deep dive allowing whatever mad, forgotten relic of the underground a solid 60 seconds to make its case?!   Well, not in at least 10 years at least.  Upon this special assignment, I set off to conduct intensive, specialized research… where I typed “death metal virus” into YouTube.  Followed also by “death metal infection”.  Eventually, I sophisticated my method using Metal-Archives.com.  This yielded exciting, boredom ridding new finds to impart on the many now finding themselves chronically bored.

What a fitting title indeed!  Medecophobic Pandemic of Existence lay right under my nose.  My search find reminded me it was actually one of a hundred videos in my ‘Brootal DM’ YouTube playlist.  I recalled it being a quality, underrated find but probably hadn’t listened to it in several years.  Pandemic of Existence is brutal death metal somewhere between Deeds of Flesh, and Brodequin.  The record is a frantic collapse of all things civil, like the escape from Terminus scene in season 4, episode 14 of The Walking Dead.  An episode that brought a real death metal double whammy featuring both zombies AND cannibalism.  Yes, I’m performing my obligation to the times and catching up on The Walking Dead.  And, like this pandemic quarantine, I have no idea when the whole thing will end but I suspect it’ll take me through a significant portion of the Earth’s journey around the sun.  Like Deeds of Flesh, the record maintains an ever-changing anomalous form like a swarming mass of millions of mad bees.  I mention Brodequin because I believe they might well be playing Deeds of Flesh covers, but you’d never know because of how damn low tuned the guitars are.  That and the drumming is similarly as relentless.   Dominik Michalke blasts like a rabid banshee, laying it on thick throughout.  The production is overall crunchy and sizzling, which creates a frenzied, anxious state in the songs even during mid-paced portions.  So, Pandemic of Existence is just one of many aurally diseased digital artifacts worth a listen that one might only otherwise come across by algorithmic chance.  There should be enough music in this whole viral feature that you could feasibly head bang away the remaining weeks of isolation.

Additionally, here are 10 thematically dead-on songs to start, or add to your quarantine playlist.

1. Afterbirth “Spiritually Transmitted Disease” from Four Dimensional Flesh
2. Deeds Of Flesh “Xeno-virus” from Portals to Canaan
3. Dawn “Ride The Wings of Pestilence” from Slaughtersun
4. Baphomet “Infection Of Death” from The Dead Shall Inherit
5. Inhume “Plague Injected” from Chaos Dissection Order
6. Fecalizer “Virus Quarantine (Mortal Contagion Part II)” from Zombie Mankind Extermination
7. Offending “Pandemic Suicide” from Human Concept
8. Craft “World of Plague” from Total Soul Rape
9. Deranged “Quarantine Required for Living Entities” from Deeds of Ruthless Violence
10. Grief “Isolation” from Dismal

Pat Hughes

Death – “Leprosy” from Leprosy

<p/P

We’re poor and run this site on our own spare time from our own empty pockets.  That’s why we can’t give you new genes to make you look better or throw money at someone to dig up Joan River’s grave for the chemicals to keep you young, but that’s okay! The only thing we care about is your personality. As poor as we might be, we’re confident that we can throw new music at you faster than you can listen to ’em all. It’s mainly metal-related stuff, but there’s a few New Kids on the Block compilation CDs lying around as well. Also, if you want to talk to some of the most incredible people within the metal kingdom–besides us–and want to turn those talks into interviews, we’re glad to help you in any way we can. There are also other benefits to being part of the site — albeit none of them include drugs, booze or sex (negotiable).

Even though we can’t ‘pay’ you for your time in cold hard cash, there are still a few requirements:

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So if you think what it takes, send us an email at editors [at] teethofthedivine.com and let us know about yourself with one or two review samples.

Salut!

The layout was mostly the same as my last visit to the area in 2011, though the second stage was moved to an indoor tent that proved to be a major hassle throughout the festival. It got packed quickly, and due to the limited entrances and narrow width, things got real tight, leaving a ton of potential listeners unable to get a good glimpse of the show at hand — depending on the artist of course. Otherwise, the festival seemed to run with a well-oiled engine, despite some odd policies here and there (on the first day, caps from bottles were removed due to some band’s security concerns).

As for the bands themselves, the line-up followed along with the foundation set by Sauna Open Air: relatively safe bets that get enough airtime on the rock radios and attract a wide audience. I get it — familiarity helps, and with plenty of more specialized festivals and shows across Europe and even in Finland (such as Tampere Metal Meeting held a week later), this fest clearly serves a need and a purpose. The fact that Sweden Rock Festival happens at the same time and bleeds bands over to this side of the border is also a beneficial factor from an organizer’s point of view.

Still, if there’s one thing to summarize the festival with, it would be ‘opposite extremes’. The weather was psychotic, swinging from very hot to very cold and rainy in an instant. That extremity showed up in the line-up too.

In one corner, you had the latest push from Spinefarm Records, Ember Falls, who feel like one of the biggest spreadsheet bands in a while. Armed with black and red warpaint (on loan from Turisas?), they were backed by huge advertisement banners/roll-ups on stage that seemed only to advertise the band’s existence, rather than add anything meaningful to the group’s visual identity on stage. And besides, the whole dystopian, anarchistic revolution shtick felt like what Arch Enemy had done with Rise of the Tyrant and even before. The music followed suit; competent and polished with a commercial upside and crafted for social media, but in the end, still edgeless melodic metal with forcefed catchiness. In from one ear, out the other. So, I did what all the people on Tinder do when they come across my profile and mugshot, swiped left to find another act.

Ember Falls

That was Triptykon, all the way at the other end of the South Park spectrum. Born from the bitter molten ashes of Celtic Frost’s demise and helmed by legendary originator Tom G. Fischer, the group was the antithesis to everything else on the bill. Minimalistic in its approach, no unnecessary antics, self-conscious yet erotic, and at times, even playful. The sunshine might not have suited their sound, but their plowing wall of distortion was still all-consuming and exhilarating.

Half of the set consisted of Celtic Frost songs, but the most shivering moment came when they played “Aurorae,” from Triptykon’s second (and latest) album Melana Chasmata. I don’t think I’ve ever quavered during a show before, let alone used that word before, yet the moment pierced me straight to my core and shattered me from within. And at that moment, whatever came before or after, was quite meaningless.

Tom G. Warrior

Unfortunately, if there’s one idiom to use to describe the show, it would be ‘cast pearls before swine’ as most of the audience just seemed dumbfounded, looking for something easier to digest. Not the most optimal setting, yet major props to the organizers for booking the band. It was a culturally significant manoeuvre.

Amorphis

This is not to say that other artists at the show were necessarily bad or worse, they just filled a different need and were easier to eat up and enjoy. Amorphis offered a solid gig as expected, despite some technical difficulties during the first four or five songs — to the clear frustration of Tomi Joutsenniemi. Progressive/thrash/theirownthing powerhouse Stam1na also offered an entertaining and adrenaline-pumping show like they always do, constantly joking about how much of a hurry they were in (before Slayer and after Triptykon ate some minutes from their set). The new material from Stam1na’s awesome latest album Elokuutio worked very well live, and slotted nicely into the rest of the playlist.

Stam1na

Battle Beast were also on stage when I arrived, but I only caught the last few songs. A year and a half ago, the band fired the band’s originator (and songwriter and lead guitarist) Anton Kabanen, but that didn’t seem to have any negative effect on the band’s confident stage presence or popularity at all.  Since Anton’s new band, Beast in Black,  will perform at Tuska later this year, I suppose the fans won in the divorce by getting two productive parents.

Lost Society, the Finnish poster childs for thrash metal and heirs to aging popular acts, didn’t disappoint with their energy either. Still, I couldn’t help but wonder how much more interesting their material will be in 10 years once they’ve evolved past ‘80s thrash tributes. If they ever churn out their own Low, Demonic (or The Gathering), I’ll be there to check it out. In the meantime, they’re still an awesome-as-hell live act.

Lost Society got intimate

Slayer, the first day’s headliner, took the stage 15-20 minutes late, played songs off their new album, and then ended the show with their greatest and most expected hits. Or so I assume, as I left after a handful of songs since my hunger was fed for the day by the Triptykon gig. From what I saw, it was Slayer through and through, but they sounded surprisingly solid and it was nice seeing how well Gary Holt has fit into the huge hole left by Jeff Hanneman. The most memorable quip of the night came while waiting for the band to take stage, as someone profoundly exclaimed “What the fuck?! You’re not fucking Guns n’ Roses!” The next day, I talked with one of the security guards and he revealed that during Slayer’s set, the assholery multiplied in the audience as people had soaked in enough alcohol by then. This normally doesn’t affect (Finnish) metal festivals that much, since they’re most often hailed for their lack of disorderly conduct, but I guess SLAYUUUUURGH are special that way.

Kerry King

The next day held little of interest to me as it was mostly an ‘80s rehash, with a bunch of glam/sleaze bands leading the attack. This stuff just doesn’t offer me a thing unless you sugarcoat it with simpleton humor like Steel Panther does and even, there’s a hard coded time limit. My personal cynicism aside, the style is making (or has been, for the past ten years or so) a comeback in Finland, attracting a ton of new, young fans while giving the old and experienced fans a new outlet to relive their youth’s passions. Not surprisingly, the fan base, young or old, is exclusively female. So I’m not exactly the target demo, no matter how many times I dress up in bridal dresses and apply for The Bachelorette.

Reckless Love

Reckless Love are partly to blame for the glam metal renaissance here. They clearly have the years under their belt and Michael Monroe posters on their walls. The showmanship was there, the songs were often well crafted and catchy, the stage beamed with photogenic presence, and the guitarist knew his shit… but what was up with the Monster Energy logos everywhere? They also felt older — especially compared to newcomers like Shiraz Lane, who, while proficient, felt slightly more like a high school band playing make-believe than a truly well-polished, sex-driven pack of heartbreaking Tyrannosauruses. The hubris and confidence that stems from experience simply wasn’t quite there yet. However, the show did seem to start rolling better and better the further it got and nearing the end of their set, there was one song that had some light progressive tones to it which made me open up my ears for a bit. On Friday, there was also quite possibly the hottest band in the field at the moment (and Sebastian Bach‘s favorite), Santa Cruz, who switched places and played early in the day as they were in a hurry to get to Donington’s Download Fest.

Shiraz Lane

L.A Guns was also scheduled to perform, but had to cancel, and so Mokoma was slotted in instead. The group seemed more than satisfied on stage, much more so than at some other shows I’ve seen from them. The first half of the set was surprisingly heavy, so it was unfortunate that they slowed things down with a few slower cuts (like “Kuu Saa Valtansa Auringolta”), even if they played them a bit differently and were more pummeling than before. Good band live, but I really wouldn’t mind seeing a show where they just blaze through their most hardest material and make the audience submit in exhaustion.

Mokoma

Like Thunderstone earlier in the day, Germany’s Powerwolf offered a bit more to the power metal crowd. I’ve only skimmed through the band’s material, but what appeared on stage seemed to be the teutonic version of Sabaton — plenty of cheese with a peculiar “blaspheming werewolves” theme or something. I haven’t seen much hype for the band here, yet many in the crowd did seem to know at least parts of the lyrics and the Germans had garnered quite an audience. There were plenty of sing-along chants and ooh-aah moments for the crowd, who returned the favor with some horrible vocalwork, forcing singer Attila Dorn to question “Too much beer, yes?” I appreciated the showmanship and craft, but the music simply didn’t reach out to manhandle me like the warmongering Swedes do. Still, Powerwolf likely picked up quite a few new fans with their solid and entertaining show.

Powerwolf

I only caught a few of Soilwork’s songs, but it seemed like another solid set from the Swedish melodeath veterans (or “Swedupellet” as Björn Strid likes to call themselves). Unfortunately, due to previous commitments, I had to leave early and skip town (goddamned weddings), and also missed out on Diablo’s set. Shame, because they just released a bunch of new good songs on their Silver Horizon album at the end of last year after a 7 year hiatus. Would have been interesting to see how’d they’d fare on stage.

Soilwork

As Bullet for My Valentine headlined the festival and took the stage after Diablo, I missed them too, but seriously speaking, whatever. Apparently the band isn’t as big of a deal as they once were (although they also had many young female fans sporting their shirts throughout the weekend), since Saturday’s turnout was less than expected by the official accounts.

Yet, enough people showed up to justify the ‘new’ festival’s existence, so that it will return in 2017. Hopefully there’ll be some interesting acts again to shake up the mix, but otherwise the circus ran without a hitch (aside from the tent and some sound issues) and I wouldn’t mind doing it again.

Abyssus –  Into the Abyss – Old school death metal that did everything as well as the more ballyhooed Gruesome did last year, but from Greece and with more of an Obituary/Benediction/Asphyx vibe.

Fractal Generator – Apotheosynthesis. This suffered from being a self-released digital-only release, so I overlooked it. But picture Fear Factory‘s beeping, whirring cyber-metal on steroids, laden with typically Canadian tech death skill and complexity.

Rosetta – Quintessential Ephemera. It’s been awhile since I’ve enjoyed a great post-rock record. And I had no idea genre darlings Rosetta were still around after the captivating dual CD debut The Galilean Satellites and 2007’s Wake/Lift. They returned in 2015 with a pretty much perfect album in the style. The track “Untitled V” is one of the best songs in the style of the last few years.

Even though I still reviewed quite a bit of it, I missed a TON of great Swedish death metal in 2015. I mean, it’s my favorite genre, and frigging Morbid Vomit snuck in a proper debut album, Doctrine of Violence, on a tiny Finnish label! There were kickass compilations like Goddified and Festerday, and then there were a TON of kickass releases in the style by  Infected Chaos, Mass Burial, Anarchos, Carnation, Disrupted, Austerynm, Moondark, Bastard Grave, Torture Pulse, Overtorture, Hereza, Amputory, Ash Cloud, and Under the Church. I only heard these towards the end of the year due to various distro sales early this year, or heard them too late last year to review. Some certainly would have appeared on my year-end list had I heard them earlier, but all are solid additions to my favorite genre. Check them all out!

Also a shout out to a couple of releases that were covered by some of my esteemed colleagues. These would have also made my year end list had I heeded their reviews sooner and listened earlier: Nailgun Massacre‘s Boned Boxed and Buried, and Sickening Horror‘s Overflow. Cheers to Frank Rini and Jerry Hauppa respectively.

Frank Rini

2015 was a killer year for Metal.  While these 5 releases did not make it in my best of list, they were awesome in their own right, and if I would have increased my list to 35, they would have been on there.

Scanner – The Judgement [Massacre Records].  2015 was a killer year for long time German Power/Metal band, Scanner.  Both Mental Reservation; ’95 and Ball of the Damned; ’96 received stunning remasters, and the band released The Judgement, their 6th album.  Putting more speed and power into their tunes, while retaining their incredible knack for creating epic, catchy and fantastic songs.

Hooded Menace – Darkness Drips Forth [Relapse Records].  Only 4 songs, but clocking in at over 40 minutes total playing time, Finland’s Hooded Menace released one of their most devastatingly depressing albums ever.  Heavy, brooding, dark, evil, doom/death metal.  Crushing!

Rivers of Nihil – Monarchy [Metal blade Records].  Rivers of Nihil returned with their second album and showed that they can play with the big boys.  I loved their debut, but Monarchy destroyed it by a landslide.  Some Fallujah influences this time around, more brutality, and an even stronger production.  Killer stuff.

Dr. Shrinker – Contorted Dioramic Palette [Dread Records].  Long time gore/death band Dr. Shrinker finally released their debut album.  A combination of Autopsy/Nailgun Massacre/Impetigo/Lord Gore-stylized brutality and awesome outer and inner artwork makes this a no-brainer purchase.  Incredible.

Putridity – Ignominious Atonement [Willowtip Records].  The highlight release from Willowtip for 2015, and it was a real slow year for that label – not many releases at all.  Italy’s most brutal band, Putridity, returned with their 3rd album. Ignominious Atonement is so over the top brutal, it will make your head explode.

Adam Palm

Soijl – Endless Elysian Fields (Solitude Productions)
Saturnus are one of the best at what they do, but they aren’t the most prolific, only releasing albums every 4 to 6 years. Thankfully, their former guitarist, Mattias Svensson, who worked with them on their 2012 full-length, Saturn in Ascension, has taken it upon himself to craft this masterful piece of melodic death/doom of comparable style and quality. However, an early Katatonia/October Tide influence combined with a more deathly bite keeps this project from being a total carbon copy.

Khthoniik Cerviiks – SeroLogiikal Scars (Vertex of Dementiia) (Iron Bonehead Productions)
Voivod has certainly been a huge influence on underground metal, but I’ve never heard their signature gritty, futuristic sound integrated so faithfully and seamlessly into barbaric black/death metal as it has been here.

Pyramaze – Disciples of the Sun (Inner Wound Recordings)
My newfound appreciation for the less cheesy side of power metal led me to Pyramaze and this release from last year, which finds them at their very best, while sounding a lot like the progressive/power metal side of Scar Symmetry.

Anatomy – Twisting Depths of Horror + Demos (Dark Symphonies)
This whole collection is great, but the first two proper tracks alone are worth the price of admission. This is some of the most palpably evil death metal ever committed to tape. It’s a shame that they didn’t record more material in this vein before switching to black metal.

The Wanderer… – Aura Nocturnal & Mysterium (Tour de Garde)
When I submitted my staff picks for 2015, I hadn’t heard a single demo worth including. That was before I got my hands on this compilation of the 2014 and 2015 demos from this mysterious one-man project from Australia. Each one is a single lengthy track of entrancing atmospheric black metal that is one of the best recordings of any type from their respective years.

Luke Sanders

I think only the most fickle of metalheads would proclaim 2015 as a disappointing year, regardless of genre preferences. I’m still playing catch-up into 2016 and discovering numerous albums that could have easily threatened my year end list. Here’s a small handful of bands that are too damn good to ignore and come highly recommended.

Predatoria – Unmarked Graves… Tell No Tales (Self-Released). This very recent discovery has captured my interest and begun receiving heavy rotation, establishing this unsigned Belgian war machine as a band on the rise. Predatoria lend a modern edge to the classic formula perfected by the legendary Bolt Thrower. Throw in the triumphant melodic hooks and energy of Amon Amarth and you’re left with a powerhouse debut statement, delivered in perfectly concise EP form.

Batushka – Litourgiya (Witching Hour Productions). Allegedly featuring notable members of the Polish black metal scene, the mysterious folks behind Batushka crafted an intriguing, unsettling and grandiose album steeped in dark, brooding atmosphere. Spooky ritualistic chants, majestic melodies and doomy overtones are masterfully coupled with fiery bursts of blackened fury and expert songcraft. This exceptional album should not be overlooked by black metal fans.

Acrania – Fearless (Self-released). Now this is some seriously weird, batshit crazy stuff with a most fitting album title. The Mexican homies comprising Acrania should be too far leftfield to appeal to the average metalhead, but somehow their crazed fusion of Latin flavours, prog, death, thrash, and everything bar the kitchen sink somehow works. Fearless is simply heaps of fun, an unconventional blast of feel-good festival flair, loose jam band groove, seriously impressive technical chops and innovative, catchy songwriting. Out of this world and a must hear for the more adventurous listener.

Alustrium – A Tunnel to Eden (Self-Released). I highlighted this album in my honourable mentions list, and had intentions to review it, but unfortunately the opportunity passed. However, this is an album not to be missed by fans of technical and progressive death metal. I can imagine, with the benefit of hindsight, regretting not including this on my end of year list. A Tunnel to Eden is a blistering shred-fest bolstered by epic, memorable songwriting, coming across like a fresh and modern update of 90s heroes Death and Atheist. Tightly performed, razor sharp and addictive fun.

Kristofor Allred

WHAT?!?! Rogga Johansson and Dave Ingram released not only one new album in 2015, but two new albums?!?! Where the fuck was I? Seriously, I must have had my head firmly planted in the ground, because had I gotten to hear Down Among the Dead Men’s new album, Exterminate! Annihilate! Destroy!, or Echelon’s latest, Indulgence Over Abstinence Behind the Obsidian Veil, my list of favorite albums would have been much different. Whether it’s the short, crusty, sludge-slathered, D-beat punk-tinged death of DAtDM, or Echelon’s more refined, sharp groove laden attack, one can’t go wrong with Rogga’s infectious riffing, driven by the bestial roars of Ingram. Pummeling in the greatest of ways, these two albums might have been latecomers in 2015, but are so worth your time, before they get lost in the plethora of great releases that 2016 holds in store.

Gorelust – We Are the Undead. 20 years after their debut album, Canada’s Gorelust return to throw their hat into the technical/brutal death metal ring with their sophomore album, and I’ll be damned if they didn’t do a fantastic job. Comprised of songs both newly written, as well as material written damn near two decades ago, you’d never suspect that these guys haven’t been consistently cranking out albums. Definitely good stuff; if you like pre-Obscura Gorguts, then you will like Gorelust.

I’d also like to address the fact that I was a complete bonehead for letting Sarpanitum’s Blessed Be My Brothers Sarpanitum’s and Keep of Kalessin’s Epistemology somehow slip by me. I was well aware of both of their releases early in 2015, they were even both reviewed here by Mr. Thomas himself, but somehow I just never got around to picking them up. To say “my bad” is a massive understatement, as they are both so good, that saying “my absolute failure” would be more appropriate.

Here’s to a metal filled 2016. Hopefully, I won’t miss out on too much good shit..

Jordan Itkowitz

Armageddon – Captivity and Devourment (Listenable Records). There’s a good reason this melodic death album caught my attention – it’s a Christopher Amott project. It started back in 1999 as a side-gig between Arch Enemy albums, but since leaving the band in 2012, he’s dusted it off for this superb new release. Features strong melodies and satisfying songwriting, scorching leads, excellent guttural vocals, a few well-placed cleans, and just a touch of heavy metal bravado.

Steak Number Eight – Kosmokrator (Indie Recordings). A diverse, progressive, and unusually nimble take on the normally stodgy and lumbering sludge/post-metal sound. Mastodon is a good reference – these Belgians aren’t afraid to stretch and play around with different pacing, influences, and song structures either. Vocal harmonies and playful groove add unexpected brightness. Well worth checking out if you still miss Burst.

Judicator – At the Expense of Humanity (Divebomb Records). I’m very picky with my power metal, so something about this band hasn’t clicked for me before – until this album, which is fantastic. The melodies bridge the typical heroic power metal sound with a touch of melancholy and plenty of aggression, there are galloping riffs and catchy hooks galore, and the vocals (smooth, but on the higher-pitched Blind Guardian end of the spectrum) sit much better in the mix than on previous releases. A very entertaining grower that I’ve been spinning quite a lot lately.

Mechina – Acheron (Independent). Not sure if Xerath and Nightwish share a lot of fans, but if you enjoy swirling, symphonic atmosphere and synths, stuttery djent, cavernous death vocals, and female Middle Eastern-inspired vocals, you’ll enjoy this impressive futuristic epic. They have a new one out too, maybe it will make this year’s list?

RAM – Svbversvm (Metal Blade Records). Great traditional/heavy metal releases are easy to find these days, but this one slipped under the radar last year. Too bad – it’s an excellent album that clearly prays in the church of Judas Priest and Mercyful Fate, with snarling, vibrato vocals, ripping melodies, and NWOBHM swagger. Would pair well with Defenders of the Faith and a 6-pack of your favorite brew.

Top 25 of 2015

1. Vallendusk – Homeward Path (Northern Silence Productions). Unlike last year, where any number of albums could have claimed the top spot, I fell in love with Homeward Path instantaneously and never lost any love. The melodies are just so darn uplifting and gorgeous they give me goosebumps every time I hear them.
2. Maladie – Still. (Apostasy Records). Sheer, unbridled, chaotic, orchestral, black/death mindfuckery. Brilliant.
3. Deluge – Æther. (Les Acteurs de l’Ombre Productions). A dense, weighty, but still harmonious post-black record that blew Deafheaven out of the literal and figurative water.
4. Mgla – Exercises in Futility. (Northern Heritage). A late gate crasher on my list, but I can see why so many of my peers listed it. Perfect black metal.
5. Wolfheart – Winterborn/Shadow World. (Spinefarm). Yep, I’m cheating – two releases in the same year. Sure, one was a reissue, but both are soooooo damn good at the whole sullen, melodic Finnish crunch that Insomnium and Amorphis had better step it up.
6. Amorphis – Under the Red Cloud. (Nuclear Blast) And step it up is all Amorphis has done since 2006’s Eclipse, the band has been on about as good a 6 album run as any band has ever had.
7. Horrendous – Anareta (Dark Descent). Would not be a top 10 list without a DDR release, right? Three albums in, and a slight left turn from their Stockholm past into more progressive pastures, and Horrendous is on the brink of Carcass-like mainstream death metal stardom.
8. Gorod – A Maze of Recycled Creeds. (Unique Leader/Listenable). Just a sheer joy to listen to, and when was the last time you could say that about a death metal record?
9. Abyssal – Antikatastaseis, (Profound Lore Records).  A vast, dense, crumbling record with some lurking blackened melodies. An improvement over Novit enim Dominus qui sunt eius and a force of nature, not just a record.
10. Obsequiae – Aria of Vernal Tombs. (20 buck Spin). Gorgeous, medieval chamber metal.
11. Ovid’s Withering – Scryers of the Ibis (Unique Leader). Also one of the best re-issues of 2015, this massive record successfully mixed intelligently crafted but punishing deathcore/djent and orchestration into a deep world with a riveting story and concept.
12. Hate Eternal – Infernus. (Metal Blade). Another massive, blistering crumbling release from Rutan. “Pathogenic Apathy” makes me see red every time.
13. Adversarial – Death, Endless Nothing and the Black Knife of Nihilism. (Dark Descent). And not just because they fixed the snare,
14. Sarpanitum – Blessed Be My Brothers. (Willowtip) Good year for Leon Macy (also in Contrarian below), maybe a Mithras album in 2016?
15. Lost Soul – Atlantis (Apostasy Records). 6 years in the making, and one of Poland’s more underrated bands delivers an epic, symphonic-tinged tech death tour-de-force.
16. Nile – That Which Should Not be Unearthed .(Nuclear Blast). Nile back to being classic Nile.
17. Panopticon – Autumn Eternal (Bindrune). Can Austin Lunn do any wrong at this point?
18. Synapses –  Devoutness. (Cimmerian Shade). A fucken monster of shredding tech death with some major grooves.
19. Contrarian – Polemic (Willowtip). Big, cavernous death metal with a touch of Schuldiner-esque wizardry.
20. Sulphur Aeon – Gateways to the Antisphere (Imperium Productions) . Almost crushed by its lofty predecessor, but a definite grower
21. House of Atreus – The Spear and the Ichor that Follows. (Dark Descent). Melodic death metal done with Dark Descent grime and weight and a killer Roman/Greek theme.
22. Nechochwen – Heart of Akamon (Bindrune). The native american equivalent of Obsequiae.
23. Heaving Earth – Denouncing the Holy Throne. (Lavadome). Early 2015 Immolation worship that got lost. Not by me.
24. Envy – Atheists Cornea. (Temporary Residence ltd). A more direct but still contemplative and brilliant envy.
25. Ghost Bath – Moonlover (Northern Silence). More utterly gorgeous melodies from Northern Silence.

Random Shit

Best label: Dark Descent. Any doubt? As well as three releases above they also released fine albums by Undergang, Desolate Shrine, Eternal Solstice, Hacavitz, Ghoulgotha (which was in the above list right up until the last minute), Tyranny, Wombbath, Crypt Sermon, Third Storm, Grave Ritual, Blood Incantation and Spectral Voice.  Many of which you will see scattered around this site’s end of year feature as well as many others.

Biggest surprises:  Cradle of Filth  – Hammer of the Witches. How many of you thought these guys were done? With the Dead – With the Dead. Never truly dug Cathedral, but this less hippy version is heavy as balls. Abigail Williams – The Accuser. Who saw that coming? Tribulation – Children of the Night. Sexy ass vampyric metal that met the hype.

Welcome Back: Leviathan – Scar Sighted. Wrest got all his legal and personal shit behind him and after the lackluster True Traitor, True Whore, and got back to what he does best.

Best packaging: Arstisdir Lifsins – Aldafǫðr ok munka dróttinn.  (Van Records). Not just a brilliant album but a sonic historical document.

Best production:  Fear Factory – Genexus. Even with all the great old school guitar tones (Entrails, Wombath, Mass Burial, Tortureama, Morbid Vomit etc), Fulber, Bell, and Cazares gave their album a sound that just hit me right on every level.

Best reunions: Vehemence – Forward Without Motion. Welcome the fuck back. Most apt album title of the year as well. Arcturus – Arcturian.   The album that should have come after The Sham Mirrors. 

Best EP: Cosmic Church – Vigilia.

Best Self-Released albums:  Dekadent – Veritas.  Auric – Empty Seas.

Let-downs:  VHOL, Napalm Death, Between the Buried and Me, Deafheaven, Iron Maiden.

Wishful thinking: My Dying Bride and Paradise Lost released kickass old school albums- how about Anathema returning to Serenades sound?

Guilty Pleasures: Chelsea Wolfe – Abyss. Subterranean Masquerade – The Great Bizarre.  Such a smooth svelte progressive metal record.

FRIDAY

At some point Disco Ensemble was touted as Finland’s biggest indie/alternative rock bands, but I’m not sure what happened to the world domination or if it’s still on going. I’ve never clocked the time to listen to their shenanigans, despite having had some distant personal connection to the band, but alas, the lads were doing a pretty good thing on the stage when I walked into the festival grounds. Energy levels seemed alright and the drive was actually decent at times, so perhaps someday I’ll actually take the time to check out what the rave is about, or was.

Disco Ensemble’s Jussi Ylikoski still putting an effort

Kaija Koo was up next, briging in some major flashbacks. Just like last year on the very same stage, the show seemed to repeat last year’s playbook — from what I gathered anyway. I actually enjoyed her show last year and quite frankly, there wasn’t anything wrong with this one either, but I just disconnected after a while. Still, I have to say it’s somewhat interesting to see just which ‘80s/’90s pop singers are able to stay relevant throughout the years and with what kinds of audiences. Kaija Koo seems to do just fine branching out from the her old fanbase and reaching out for all sorts of new listeners.

Kaija Koo provided some major flashbacks of last year’s show

Finnish reggae superstar, Jukka Poika, performing with the Soul Captain Band, was another repeat offender from last year. The last time I saw him perform was some years ago at some city festival in Tampere and while relaxed reggae might not be my go-to music too often, I had to admit that the guy had a decent show. This year’s overly positive Wanaja set wasn’t that bad of a thing either, but it felt different and somehow more calculated. It’s hard to pinpoint it exactly, but it’s kind of like the feeling you get when you deal with reptilians. Everything seems perfect, too perfect perhaps… but it also got me thinking just how important of a part the backing band, Soul Captain Band, plays. In my opinion, they’re the true stars of the show. The backing band is tight and easily appreciated. Plus their bass gave a tingly sensation all around.

Jukka Poika seemed to be on a good mood

Stam1na, Friday’s only (and the festival’s first of two) metal band, has been featured on our festival reports a couple of times. Since I didn’t get to see the band last year, I didn’t mind seeing them once again. After all, they always give their all and put on a great show. I guess it could be entertaining to see a bad show from the band, one where you’d die out of boredom but alas, that, as expected, didn’t happen this time around either. Instead, the group came in and gave an entertaining slab of heavy metal, armed with some new material since they released a new album (SLK) last year. There didn’t seem to be a particular theme this year, aside from some running dick sucking joke, but the show started out funnily enough with the band performing their own intro. Supposedly they didn’t happen to have time to arrange anything else. Another curiosity was that this year, almost all of their songs were being introduced as being about the current situation in Greece.

Stam1na always putting on a sweat on stage

Next up was Elastinen, a Finnish rapper turned singer and every mother’s fantasy son-in-law. The man has been said to be partly responsible for the rise of Finnish hip hop and rap in the late ‘90s as the duo he was in, Fintelligens, was one of the first ones to break out to the mainstream in an impactful way. That’s the official story anyway. The real deal is that in the early ‘90s, acts like Raptori, Hausmylly and Nikke–T laid the true foundation. Now, many will say how at least the first and last one killed Finnish rap by making it a joke for a good 10 years, but we all know that’s revisionist, sensational bullshit. You can’t rewrite music history like that, not like military history anyway… but enough with school.

Elastinen elastically reaching towards the sky

Elastinen has come a long way in ~15 years and his show sounded big, well crafted and every punch was made to make it seem epic and grand. Everyone on stage was dressed in white like in some cult ready to be raided by the FBI while the man’s own label’s (Rähinä) logos were featured on every available inch. So the show is big as fuck, trying to bring a stadium gig to a much smaller stage, and in some perverse way, actually doing a good job with it. But that’s where the thing starts to lend itself to an unintended parody; the going gets so fucking ridiculous and while it’s packaged into a positive, fun, experience it still reeks as too fucking serious for it’s own good. But maybe I’m jaded. No. I am jaded. The whole bigger-than-life thing began last year with another rapper, Cheek, who sold out (or almost) two stadium shows before taking a year off music. Now all the biggest sellers are trying to build an empire, craft themselves as living legends and most likely quote Scarface in the privacy of their mansions. The most hilarious part of Elastinen’s gig was when the guy put all his soul into a PMMP cover, pouring down the syrup so thick it actually made all the late ‘90s mallcore angst seem genuine growing pains. Jesus F Christ.

Eppu Normaali had the honors to close the day off. For those not in the know, Eppu Normaali is one of the cornerstones in the Finnish music scene. The group began as a punk band in the ‘70s but throughout the years, it has become one of the biggest rock groups in the country.

Eppu Normaali and the highlight of the day

At Wanaja, Eppu Normaali was celebrating the 30th anniversary of one of its most celebrated albums, Kahdeksas Ihme (‘Eight Wonder’) by performing it in its entirety. After quite a few pompous acts, the comparably minimalistic, straight to the point approach cemented the fact that sometimes, some-bloody-times, music is actually enough. Personally I don’t know the band’s whole discography too well, but even I had a few flashbacks to early years once sure-fire hit “Vuonna ‘85” blasted on air. Before that, ”Voi kuinka me sinua kaivataan” actually made me want to revisit the group’s stuff to see if there’s anything else a bit less obvious, but good. The band seemed to be in a good condition for a 40-year old band. They were able to evoke, not necessarily nostalgia but certain reminiscent longing. And no matter what you think of the band or their material, their songs are so incorporated into the culture nowadays, that they’re sure to evoke at least something else other than total indifference. Definitely the highlight of the day, a perfect way to close Friday and embrace the night.

SATURDAY

The next day brought in a bit colder weather with plenty of light rain. I didn’t mind.

Atomirotta is the current incarnation of Notkea Rotta. They’ve been mentioned a couple of times in the past festival reports. What’s different is that they’ve gone from a full-fledged orchestra into a three man group. What’s not different is that the group’s still entertaining. Guitarist and a general swiss-army-knife, Rane Raitsikka (also known from the ‘80s act Smack), seemed genuinely excited about the stuff they’re doing.

Atomirotta

Samuli Edelman was up next. Now, for some he’s turning into this icon and some sort of an heir to another well-regarded Finnish singer, Vesa-Matti Loiri. Both of ‘em are also well known from acting, with Vesku being most well known for his role as Uuno Turhapuro; a mythological Finnish comedy character. Fun fact: one of the Amorphis guitarists bought some vintage guitar equipment that was used for the soundtracks of those comedies. Anyway, Samuli is more well known from his a comedy group Vintiöt, but also as the bad guy’s right arm in Mission Impossible – Ghost Protocol. Dude came out on stage with a chair set up and basically did the whole gig from there. If you like mellow and easy pop tunes that somehow make middle-aged women weak in the knees, give him a shot. As much as there’s certain smugness to it all, can’t hate the dude at all.

Samuli looking for Tom Cruise

Mokoma was the other actual metal band set to play on the bill. After their two albums received somewhat lukewarm reception, the band parted ways with a major label, formed one of their own and readjusted their musical focus by leaning towards thrash metal. With the help of the single “Takatalvi”, 2003’s album Kurimus shot the band to a whole other level and basically paved the way with gold again for Finnish-sung metal. 12 years and some seven-ish albums later, the band still does well in the top lists. While the band’s past few albums haven’t really resonated as well as some of those earlier ones, the level of consistency is undeniable, especially live and on stage, where the band has proven to be top tier even after all these years. And, Wanaja 2015’s set was no different.

Mokoma put ona good show. As expected. However…

The biggest surprise of the festival was Olavi Uusivirta. Now, I had expectations set in the minus celsius degrees, but the dude came and conquered. His music is an absolutely terrible blend of pop, indie and rock that caressed absolutely zero of my taste buds, but the stage ethic was unrivaled by a long shot. The man absolutely gave a sincere 100 and one percent effort, accidentally tearing up his shirt during the first couple of songs. Unlike Elastinen‘s set the day before, the going here actually felt authentic, so while the music was a miss for me, it’s hard to bitch and complain.

…Olavi Uusivirta put on a better show.

Since I’d already gotten my nostalgia fix few years ago, I decided to skip Leningrad Cowboys’ show at the end of the festival, and thus Haloo Helsinki’s performance became the last one for me. The band has grown into one of Finland’s biggest rock groups in the past handful of years, each year becoming bigger and bigger. In fact, so big that they are in the midst of a see you later -tour as they’re winding down their operation for a break. If I were to bet money, I’d bet on singer Elli releasing a solo album within the next couple of years. To celebrate their temporary retirement, the show was taking visual cues from Germany and topped it with pyros, thus disallowing photographers to point their technical soul sucking devices at them at close range. But credit where credit is due, it seems like all the touring the band has made has paid off and it’s no wonder, with catchy pop-rock songs, that the thing has blown into huge proportions. It does help that the lyrics are a bit wordier from the usual nonsensical bullshit that most mainstream acts try to peddle.

Haloo Helsinki doing farewells with a bang

So another year, another Wanaja, another coverage of non-metal acts on a metal-dedicated website. I like the festival, partly because it gives a quick vertical slice of the current Finnish music scene that I otherwise don’t pay that much attention to, but also because it’s a chill gathering in a perfect environment. Now, they could update their practices and have quotas for minorities, ie. metal acts. Let’s say, three bands a year. Yeah. At least three metal acts a year sounds good.

Anyway. Until next year.

All you have to do is fill out the form below, enter  the 5 Blast Head Records releases you would like to magically appear in your mailbox, and 2 lucky winners will each receive 5 Blast Head Records CDs of their own choosing. How cool is that?

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GIVEAWAY HAS NOW CLOSED

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DISCLAIMER: 1 entry per person.  The  2 winners will be notified personally via email to confirm their shipping address. In case there is no confirmation in a reasonable time, Teeth of the Divine reserves the right to randomly pick a new winner. Your personal details will only be used to deliver the CDs to you and will not be shared with third parties. Neither Teeth of the Divine, or Blast Head Records take any responsibility over packages lost or stolen in the mail. Entrants outside of USA and Canada will receive CDs without jewel cases. Teeth of the Divine staff members are not eligible. Contest ends when there’s no form to fill. The form will be removed at some point during, or around May 11th 2015.

Come 2015, we’ll most likely throw you with some of our favorite 2014 releases and a bunch of other 2014 things that we didn’t get out in time.

We have high hopes for 2015’s heavy metal offerings.

None the less. Enjoy whatever it is that you’re celebrating or not-celebrating and see you in 2015!

It’s easier than stuffing 3 plates of turkey in your face, and you won’t pass out naked in front of the TV.

Atara/Miserable Failure – Hang Them (Kaotoxin)

Decimation – Reign of Ungodly Creation (Comatose)

Devangelic – Resurrection Denied (Comatose)

Bloodsoaked – Religious Apocalypse (Comatose)

Septycal Gorge – Scourge of the Formless Breed (Comatose)

Throne of Sacrilege/Impurium – Unleashing a Cacophony of Destruction
(Orchestrated Misery Recordings)

Shards of Humanity – Fractured Frequencies (Unspeakable Axe)

Algebra – Feed the Ego (Unspeakable Axe)

THIS CONTEST WILL BE OPEN UNTIL DECEMBER 1ST!

DISCLAIMER: One winner will be picked randomly. The winners will be notified personally via email to confirm their shipping address. In case there is no confirmation in a reasonable time, Teeth of the Divine reserves the right to randomly pick a new winner. Your personal details will only be used to deliver the CDs to you and will not be shared with 3rd parties. Neither Teeth of the Divine, or Clawhammer PR take any responsibility over packages lost or stolen in the mail. Teeth of the Divine staff members are not eligible. Contest ends when there’s no form to fill. The form will be removed at some point during December 1st, 2014.

Formed in 1991, Maryland’s Dying Fetus had already garnered a solid degree of underground cred through their heavy involvement on the live circuit and fiercely determined attitude and work ethic towards their craft. Led by guitarist/vocalist/chief songwriter John Gallagher, Dying Fetus gained further underground exposure and momentum through the one-two punch of debut album Purification through Violence (1996) and the crushing follow-up, Killing on Adrenaline (1998). Following a line-up tweak (Sparky Voyles replaced Brian Latta on second guitar) and stopgap EP (Grotesque Impalement), Dying Fetus returned to Hit & Run studios with producer Steve Carr to record their third full-length album and Relapse Records debut, Destroy the Opposition in 2000.

Although there’s a fair argument that Killing on Adrenaline is the definitive Dying Fetus album and a classic in its own right, Destroy the Opposition took all that was great about its predecessor and enhanced and refined it into an unstoppable 36 minute blast of death metal perfection. Without diluting their sound or losing any of their hardworking underground grit, Dying Fetus took their music to a sophisticated new level in conjuring up a tight compact package of brutal, technical, slammy and endlessly catchy death metal.  Purely from a technical standpoint Destroy the Opposition was a finely crafted display of densely complex guitar work, intricate rhythmic power plays and stop-on-a-dime time changes, but if detached from actual songs it could easily have resulted in just another tech-death wankfest. Instead Gallagher and co emphasized a catchy groove-based approach, interwoven into structures that were anything but simplistic or one-dimensional. Thus creating a supreme balance of compositional and musical skill coupled with memorable hooks, tough catchy grooves, and trademark breakdowns, so expertly defined on tracks like the monumental title track.

The underlying hardcore influence and ramping up of Netherton’s fierce socio-political lyrics brought an increased depth and intelligence to the calculated brutality featured across the eight deftly executed compositions, without ever betraying their dominant death metal roots. As Gallagher explains, “the elements of hardcore and groove gave the album a bit of its own identity and separation from the popular death metal bands of the time”. He goes on to cite elements of technical death metal, slam, hardcore, rap and thrash as combined influences at the time of the album’s conception. Like any classic album Destroy the Opposition maintains a high standard from start to finish, from the technical wizardry and impeccable craftsmanship of opener “Praise the Lord (Opium of the Masses)”, featuring the endearingly monstrous breakdown/groove at the 2:25 minute mark; to the hard-edged grooves and blasting punctuations of closing track “Justifiable Homicide”.  Each track was an identifiable sum of the album’s multi-faceted parts, making for a structurally unpredictable yet cohesive listen, where the fat mid-tempo grooves and rap-like vocal trade-offs of “Epidemic of Hate” sits comfortably alongside the frantic beatdown of “Pissing in the Mainstream” during the album’s punishing mid-section.

https://www.youtube.com/watch?v=W77t21uRq7A

Much was made of the sudden disintegration of the line-up in the wake of Destroy the Opposition, but Gallagher says, “despite what anyone may think the recording process was amicable and came together solidly”. Certainly the top notch performances speak of a band at the top of their game and meshing incredibly well as a unit, while the improved production played a strong role in capturing the intricacies of the album through a crisp, heavy and organic sonic vessel.  Drummer Kevin Talley has since, understandably, followed the money trail and hit the auto pilot button in his later works as a hired gun, but during his time hitting the skins with Dying Fetus the man was at the peak of his craft. His endlessly inventive, technical, blisteringly fast and tastefully groove-based drumming not only provided the album’s powerhouse backbone but frequently demanded the limelight as well.

Meanwhile the guitar work of Gallagher and Voyles was and remains a marvel of technical proficiency and infectious riffcraft, with the duo largely responsible for the instantly catchy and memorable moments scattered throughout the album, shifting between lightning fast fretboard shredding, intricate trade-offs (such as the stunning mid-song interplay on “For Us or against Us”), and an abundance of groovy slam riffs. Another key aspect that haslong separated Dying Fetus from the death metal pack has been their unique vocal approach.  Here Netherton’s vicious mid-range barks contrast with tremendous impact to Gallagher’s trademark guttural burps, forming an impressive two prong vocal attack that remains a focal point to the band’s current sound. And throughout Destroy the Opposition, Netherton’s final outing with the band, the combination never sounded more potent and convincing.

The enduring legacy and influence of Destroy the Opposition cannot be understated in today’s modern death metal landscape, particularly within the technical death, slam and deathcore scenes.  A remarkable achievement, Destroy the Opposition sounds as fresh and exciting today as it did in the nearly 15 years since its initial release. Which brings us to the old cliché, with the benefit of hindsight, would Gallagher change anything about Destroy the Opposition today? In which he simply states, “I wouldn’t change a thing”.

With half of Teeth’s fighting crew succumbing to the battle injuries from Nummirock festival the week earlier, I was again forced to go solo — which is fine, considering all the masochism and self-deprecation that running Teeth of the Divine requires. Speaking of Nummirock, or any other Finnish festival, when you compare the lineups, there’s a lot of overlap. If one was to attend them all, things would probably go a bit stale after a while, but “luckily” I haven’t had the luxury this year.

Anyway. Tuska. 2014. Go.

FRIDAY

Ensiferum had the honors to cherrypop the main stage. I was still in the queue waiting for my credentials and the +10 charisma boost that comes with the press pass. The plebs seemed to pour into the festival from their own gates quite effortlessly, so at least the four years at Suvilahti have ironed out some of the more basic quirks of the operation.

Poisonblack & Antti Remes

Right after I was fab fived, I found myself in the photo pit for Poisonblack. Truth be told, I really didn’t hear anything the band was doing on stage, as I was still in a rush of getting accustomed to my surroundings. Not that things had changed since last year,but at least the ‘booth babes’ with free Coca Cola had made a welcomed comeback. I know putting it that way sounds extremely exciting, especially for a metal site, but the small free cans are an excellent way to keep thyself hydrated throughout the day as you combat the sun.

Friday’s set must have been somewhat of an ungrateful gig for Phil H. Anselmo and The Illegals. A lot of people wanted to see Phil Anselmo live, but I’m not sure how many of them cared for Superjoint Ritual or even knew Phil had some new stuff to offer as well. Despite the somewhat welcoming audience, in reality, it seemed like what they truly wanted was Pantera.

Phil Anselmo

The Cowboys from Hell were supposed to play with Slayer at the Hartwall Arena in Helsinki, back in 2001. Then some planes struck a couple of buildings and the world changed permanently. Slayer came over with Cradle of Filth, In Flames and Amorphis, but Pantera didn’t want to have anything to do with flying planes so they stayed home. Three years and few months later, Dimebag got shot and that was that for Pantera.

Phil’s still a charismatic fellow. A lot more subdued and rugged, older to be frank, but still commands a bit of that machismo that, despite the naysayers nowadays, made the guy a legend of the ‘90s metal movement. When he speaks, you tend to listen and he still has his wits about him. “You’re waiting for your heroes… in black and white makeup… like the poseurs I know you are” the man laughed, while chuckling at his own notions that his new band would become bigger than Metallica ever was.

But, the set at this year’s Tuska was an odd thing to witness. The audience was courteous, but it still seemed like the band and the guys throwing up the fists really didn’t seem to meet — aside from when the group was covering Pantera with songs like “Domination/Hollow” and “Hellbound”, but everyone knew that was not enough. At some point Phil seemed surprised that they still had minutes to fill: “We can make it up as we go… so whadda ya want to hear?”

“What really grinds me gears…”

Dare I say there was a ton of awkwardness, but still at the same time, plenty of ‘fun’ as well. Kind of like driving 120 miles per hour into oncoming traffic, not holding back and still trying to make the best of the situation and in a nihilistic way, actually enjoy it. In one of the greatest stunts of the festival, Phil completely blueballed the audience by rocking Slayer’s “Raining Blood” on guitar, getting the rest of the band behind him, riling the audience up for a new pit and then just finishing it off into a wall before the thing got anymore traction. Ice cold.

Phil Anselmo 20 years earlier. No wait. Nails.

Speaking of getting your brains splattered all across the festival grounds, Nails was up next on the second stage and they got a “holee shit” out of me with their pummeling hybrid of all things heavy. The band steamrolls violently through any opposition and forces people to succumb to the beating. I’d assume the set would have worked better inside the boiler room, with a more intimate contact with the crowd, but whatever. A strong heads up from the band and probably the closest I’ve felt of seeing Being and Nothing -era Extreme Noise Terror live.

Children of Bodom was supposedly playing at Tuska for the first time in… 7 years or something? Anyway, they were meant to play last year but had to cancel due to reasons; most likely for touring quite actively in North America. This time the band had set up a homecoming party of sorts to celebrate the occasion, driving a couple of trucks on stage and a few real barbeques, up and ready to grill. Lost Society seemed to be doing most of the serving, while Bodom were handing out their musical meat on the front of the stage.

Children of Bodom’s Alexi Laiho shreds and cusses

Like I think I said in last year’s Sauna Open Air report, Bodom aren’t in my area of interest. For what’s it worth, they seemed to rock the stage, have a good time and give the audience a worthwhile metal show. Me, I had time to concentrate on benign irrelevancies, such as shaking my head at Alexi Laiho’s in between banter; the guys definitely have been touring the States for far too long, as Alexi’s tendency to speak English to the home audience felt at times, quite laughable with the constant explicits. Fuck this, fuck that. Sure, there were a ton of foreign visitors as well, but when in Rome… or whatever that smartass proverb was.

Hamferð was moody

At some point during CoB’s set I zombied onwards to the dark, murky third stage and was greeted with a wall of melodic doom slash death, as Hamferð, from Faroe Island, was making a strong showing for themselves to a devout crowd. Hadn’t heard of the band before, but it didn’t take long for the versatile vocalist, Mr. Jón Aldará to win me over along with the rest of the band. The guy also replaced Mikko Kotamäki in Barren Earth, so there’s that too. Definitely one of the biggest and best surprises of the festival, so much so, that I went and ordered their latest album, Evst. The show ended far too early and there was still enough time to hear Alexi speak his finglish on stage; “[In Finnish] Thank you Tuska, you were an amazing audience! [And right after in English] Thank you so fucking much!” Oh you little rascal, you — I’d cuddle you to death!

Stand-up comedian Jeff Walker

Jeff Walker was in a sarcastic mood, constantly bantering with the audience and throwing sharp knives towards everyone and everything; not giving a shit like Phil Anselmo earlier and rightfully so. The guy laughed at the line queuing up for Bodom’s signatures, constantly called everyone who wasn’t watching their show a loser and an asshole. The man also apologized for Carcass’ part in the creation of the Gothenburg sound and whatever melodeath bands they might have influenced in the past 20 years. Carcass threw songs from left and right, including their latest Surgical Steel album but seemed to skip Swansong for some reason.

Dimmu Borgir and Shagrath’s amazing gaze

Since you’re visiting this site, it pretty much means that Dimmu Borgir needs no introduction whatsoever. I think they played at Tuska some years ago, when Simen was still around to grace the band with his fantastic clean vocals. Apparently the band wanted to celebrate some sort of a 21 year run with the audience, albeit that didn’t seem to translate into anything special on stage. Supposedly the plan was to play through Death Cult Armageddon but I think they stopped after a handful of songs and moved onto other things, including a 10-15 minute background tape interlude — the third ‘intro’ of the show or so — at which point I wondered if the band dragged onwards like this on their albums as they did on stage, as I sure as shit couldn’t remember being actually bored the last time I went through one their albums. “Fuck this” I thought, and took the gateway out of dodge as “Gateways” began to blare in the background.

So why go rural? Why Nummirock? Why not some fancy pancy city festival with butlers and champagne? To check up on history and see how it’s doing. Nummirock can be argued to be the longest running hard rock/metal festival in Finland, even if at points the festival practiced witchcraft with acts like Pandora, Inner Circle and Bogart Co. (look them up) in the line-up next to Paradise Lost, Uriah Heep and whatnot. The first Nummirock was held at the dusk of the 1980s, when it mainly featured Finnish rock bands of varying degrees, with one or two foreign acts headlining. Growing year by year, in the ‘90s the festival began its high pressure lean towards heavy metal. Iron Maiden, Sepultura, Pantera, Danzig, Slayer… all have graced the festival.

Nummirock’s niche for heavier acts also drew a line between it and other rivaling, usually more pop-rock oriented, midsummer festivals out there (see for example, Ruisrock in Turku, Provinssirock in Seinäjoki and Ilosaarirock in Ilosaari). As of 2002, Nummirock has pigeonholed itself solely as a heavy metal festival, and all in all it can be regarded as one of the earliest and most consistent festivals that systematically provided the hottest names in the metal world to its Finnish audience. There were some other heavy metal oriented events before it, such as the Giants of Rock festival (1987-92), but most have failed to make ends meet and disappeared from the yellow pages. Despite its isolated location, Nummirock has proven that the heavy metal concept worked and by surviving the financially rocky ‘90s, the festival paved way for other metal gatherings, such as Helsinki’s own Tuska Festival. So, even now when there are much bigger fish around that offer distorted guitars (in full or as an added spice next to other music) and have more star pull, among many “old school” metalheads, Nummi (as it’s called in short), has an unwavering reputation for being the one with the most prestige.

But let’s get the party started. But before we do, here’s a quick summary of what’s gonna come up:

2. More about the festival

3. Thursday’s bands

4. Friday’s bands

5. Saturday’s bands & Conclusion

1. Deafheaven – Sunbather (Deathwish Inc) . Haters gonna hate. One of the most brilliant albums of any genre in 2013.
2. Light Bearer – Silver Tongue (Halo of Flies). If not for the knee-wilting title track alone.
3. Inquisition – Obscure Verses for the Multiverse (Season of Mist). Never liked these guys until now, but my, how I like them all of a sudden. Riff-a-delic.
4. Gorguts – Colored Sands (Season of Mist). Of all the high profile death metal reunions, this was the best.
5. Ade – Spartacus (Blast Head Records). One of the biggest death metal surprises of 2013.
6. Aosoth – IV- An Arrow in Heart (Agonia Records). Icky , filthy, regal.
7. Extol – Extol (Facedown Records). Pure progressive metal bliss, Christian or otherwise.
8. Carcass – Surgical Steel (Nuclear Blast Records). Second-best high profile death metal reunion of 2013, even if Exhumed almost out-Carcass‘d them.
9. Cultes Des Ghoules – Henbane (Hells Headbangers). Traumatic, nightmarish, and truly disturbing stuff.
10. Entrails – Raging Death (Metal Blade Records). New label, same reliable and consistent sound. This generation’s Dismember?
11. Man Must Die – Peace Was Never An Option (Lifeforce Records). Welcome back. Intense and melodic grinding death metal with a message.
12. Ulcerate – Vermis (Relapse Records). Had some thunder stolen by Gorguts, but still truly oppressive stuff.
13. Autopsy – The Headless Ritual (Peaceville). Topped even Obliteration, Slaughterday, and San la Muerte doing their best Autopsy impressions.
14. Blood Mortized – The Angel, The Death, The Disease (Chaos Records). Underrated challenger for Entrails‘ throne. Beat out Demonical too.
15. Caladaan Brood – Echoes of Battle (Northern Silence Productions). Summoning who?
16. Hail of Bullets – III – The Rommel Chronicles (Metal Blade). More death metal consistency from this Dutch supergroup.
17. Fleshgod Apocalypse – Labyrinth (Nuclear Blast). More over-the-top orchestrated death metal. Maybe I’ll review some of their wine and pasta in 2014?
18. So Hideous – Last Poem/First Light (Self Released). Haters still hating. Some of the most gorgeous instrumentation of 2013.
19. Katalepsy – Autopsychosis (Unique Leader). The most bludgeoning album of 2013, even with stiff competition from Suffocation, Broken Hope, Wormed, Defeated Sanity, Boal, and Necromorphic Irruption.
20. Krypts – Unending Degradation (Dark Descent). Dark Descent’s best release in an otherwise quiet 2013 (compared to 2012).
21. Noumena – Death Come Walk With Me (Haunted Zoo Productions). Superb Finnish melancholy and a welcome return.
22. Sulphur Aeon – Swallowed By The Oceans Tides (FDA Rekotz). Liable to get forgotten in the end of 2012/early 2013 shuffle.
23. Sacriphyx – The Western Front (NWN! Productions). A completely unheralded gem in 2013, Please go and check it out.
24. Nails –  Abandon All Life/Dead in the Dirt  -The Blind Hole (Southern Lord). Two almost identical, absolutely fucking intense crust/hardcore/grind releases
25. Thrawsunblat – Wanderer on the Continent of Saplings (Self Released). What a great year for Ms Rae Amitay. David Gold would be proud.

Didnt Get the Hype:
Grave Miasma, Craven Idol, Altar of Plagues, Tribulation, Soilwork, Cerekloth.

Biggest Letdowns:
Convulse – Evil Prevails, Oceano – Incisions,  Morne – Shadows; Rotting Christ – Κατά τον δαίμονα εαυτού; Witherscape– The Inheritance; Summoning – Old Morning’s Dawn.

???????????:
Duobetic Homunkulus – Ani já ani ty robit něbudzeme, šedněme do koča, vozit še budzeme (Zero Budget Productions).

Best Album Cover and Lyrics:
Vastum – Patricidal Lust (20 Buck Spin). Solid album to boot.

Best 2 Album Cheaters: 
Feared – Furor Incarnatus/Vinter.

Best Reissues:
Abyssal – Denouement (Hellthrasher Productions); Besieged – Victims Beyond All Help (Unspeakable Axe Records).

Best EPs:
Bolzer – Aura; Sidious – Ascension to the Throne ov Self; Immortal Bird – Akrasia

Best 2 Minutes of 2013:
Trollfest – “Rundt Balet.”

Best Discovery of an Old-Ass Album: 
Earth – Star Condemn’d, from 2000.

Best Split:
Mare Cognitum/Spectral Lore – Sol

2012 Gems I Missed in 2012: 
Before the Dawn – Rise of the Phoenix; Dyscarnate – And so it Came to Pass; Circle Takes the Square – Discontinuations.

2013 stuff I should check out so it makes the above list next year: 
Cult of Fire, Inta Arma, Secrets of the Sky, Ævangelist, Smothered.

Early 2014 Contenders:
Jaldaboath, Corpsessed, Lvcifyre, Lie In Ruins

Understandably so. With the volume of fashionably dressed gothic lolitas in attendance, it’s easy to question whether or not J-Rock is a valid category of music. In most cases, it’s not. As with many genres, the majority of of modern J-rock is template-driven pop music, engineered by marketing professionals to appeal to fans of Japanese fashion and culture.

With song names that translate to Rain of Rape, Dir en Grey are an exception to this rule. Starting as what could be most closely equated to a cross-dressing pop-punk band in the 90’s, Dir en Grey has released eight albums without changing a single member, and has since evolved to something that can be best classified as a shock-inducing, experimental death metal band.

The tour itself had thrown in some challenges for the groups. After being rumored to be stuck in a security lockdown in the Dallas airport, to then having a bus break down in Seattle, forcing one of their shows to be rescheduled with one day’s notice, they had been taxed quite heavily.

Unaffected, both Dir en Grey and Dagoba were prepared, and delivered solid performances that captured the hearts of both the hardcore, loyal fans, and the newcomers.

Dagoba was first to take the stage, and they took it with passion.

From the moment I saw the intricacy of Shawter’s mustache, I knew that he was totally for serious. As a passionate singer utilizing both low, controlled growls, and ballad-driven nu metal cleans, he kept the audience alive with his divine focus and energy. When the lights dimmed for the slower, more controlled parts of their set, faint whispers of “they sound kind of like Pantera” could be heard from the older members of the audience.

After closing out with a heavily accented “I love yo, yo, yo, yo, and yo!” Dagoba took a well-received bow while exiting off the stage.

Since the Ghoul tour was well-rehearsed in both the US and Japan, the set up was quick. The set list and audio-visual components were deeply integrated, and as a result everything was structured and orderly. The performance was completely pre-arranged to the point that it seemed as if Dir en Grey were auditioning for an upcoming Cirque de Soliel performance.

Starting with hard, heavy metal, Dir en Grey began with their more intense songs in an attempt to let the crowd blow off the reserves of excitement they’ve been building up in anticipation of seeing their favorite band.

The leader singer, Kyo, is veiled in a black sash which covers his face, which blows in the artificial wind generated by the carefully placed fans below him. After beating off a couple fan favorites, the band transitioned into the more highbrow elements of their intricately designed performance.

The lights went out, allowing the crowd to focus on a projection screen mounted on the stage. Upon the projection screen was pure black, nothingness, but soon it was revealed that the projection screen would be a live, giant magnification of Kyo’s face.

The super-sized screen allowed the crowd to take in the details of Kyo’s intimidating make-up setup. His face had been painted in a horror-like fashion, but he also wore contacts that caused his eyes to appear to be exploding, and routinely demonstrated rehearsed faces that made the audience feel as if his head were about to fly out and eat them, which I’m sure most of us would have been OK with.

The first song to experience this treatment would of course be The Blossoming Beezelbub, the song most associated with Kyo’s ventures into creative, yoga and death prone performance.

“Dude… it sounds like he’s fucking praying to Satan…” said the tall, confident bro as he stood in the crowd beside me.

After the circus act, the band returned to more familiar rock and metal songs. Being late in the tour, the strain in Kyo’s voice could be heard as he sacrificed the flesh of his physical throat to summon his demonic Persona. The projection screen turns to the type of disturbing videos you’d see from a solo EDM artist opening for an industrial show, such as deformed babies melting, and Hiroshima being bombed. Meanwhile, Shinya thrashes on his giant overhead cymbals, and Toshiya, token dreamy bassist, wears an elegant dress.

When the act closed, Dir en Grey, acting as avatars of terror, came to the front of the stage to please the crowd with the usual pick-throwing and bowing, but something was different different. Contrary to their usual always-in-character-to-the-point-of-cutting-themselves-on-stage act, they looked at the crowd…

…and smiled.

PMMP touring for the last time…

Take for example the Finnish girl duo, PMMP, who are winding their 10-year (or so) career down by doing this final tour. Their at times minimalistic music and relentless performance has gathered plenty of fans from all areas of music and listening to them doesn’t seem to bring any shame at all to anyone. Perhaps it’s the fact that their sometimes genre bending pop tunes hold melancholic and excessive realism; a fact not that surprising considering that the band’s music is pretty much composed by one Jori Sjöroos that some might know from such acts as Magenta Skycode and This Empty Flow or even before that, funeral doom act Thergothon.

But I’m fast forwarding.

Shut up, Pää Kii!

I arrived to the scene late due to prior obligations and caught the last few songs from Finland’s currently hottest punk rock group, Pää Kii (or ‘Shut Up’). Going by what was happening on stage musically, either I’ve got a completely distorted view of punk or the band was playing their most mellow songs. Either way or both, there didn’t seem to be much danger on stage aside from the band laughing at their bass player for showing off and fucking up a song in the process. After the scandal that mainman Teemu Bergman caused earlier this year by appearing somewhat wasted (on whatever) in an interview for the national TV, I was expecting something different. Something with a bit more spit and piss, I guess. Instead the band sounded almost like reinvented Klamydia.

Jonne Aaron

Another safe act followed as Jonne Aaron took the stage with his solo ensemble. The guy’s appeared on teenagers’ walls for his duties in his rock band Negative. Now there were some older faces in the audience too for the guy had appeared in a TV series where a bunch of rockers, poppers, new and old talked shit with one another and performed each others’ songs, making those at home teary-eyed for one reason or another. I can’t say I waste my time by hating the guy or anything, but it would be safe to say that the stuff does absolutely nothing for me.

This guy seemed to appreciate Notkea Rotta

Unlike Notkea Rotta whose jamming soundcheck I decided to check instead. They appeared at the very same festival last year, this time manning the second stage (fitted them better) and co-touring with another Finnish rap oriented group, SMC Lähiörotat — who romanticize Finland’s version of the life in the projects. Notkea Rotta’s metal connection was discussed last year but what was forgotten to mention was the fact that guitarist Rane Raitsikka originally played (and still does) with the legendary Finnish punk act, Lama (who in turn made an appearance at this year’s Tuska). The ensemble threw an entertaining, enjoyable set that sometimes was a mere distortion pedal away from proper crossover. Maybe some day. The show did rile up the audience and in turn, the band on stage as well.

PMMP’s Paula Vesala empowering the audience

As for PMMP, they came and did what was expected of them. The two singers, Paula and Mira, we’re all over the place (including the top of the stage) making the best out of their last times on stage together — sometimes to the ire of the security who tried to hold them back from interacting with the audience too closely (at one point making Paula shout “Let go of me!”). Crowd participation was good and the songs echoed nicely live. Towards the end, the duo caused yet another problem for the security as they invited everybody (“We ain’t gonna pick and choose the cream of the crop”) on stage. I didn’t stay around to see the clean-up aftermath, but it was interesting seeing fans climb all over the place.

Elakelaiset showing how it’s done (be it music or boozing).

On the outside Eläkeläiset (roughly translated into The Pensioners) has very little to do with metal, but their humppa covers of known rock songs — and not least, alcoholism — has raised them up to legendary levels over here and abroad (with quite a few stints to Wacken). While one might skip them on CD, in a live setting they’re nothing but pure destruction and mayhem, disarming the audiences of any nay-saying and inhibitions with self-deprecation, showmanship and catchy fucking rhythms; “Twenty years of this same shit and still you come to see us”. The ultimate live band.

Apulanta’s Toni Wirtanen

Friday ended with one of Finland’s biggest and most successful rock groups, Apulanta who crashed onto the scene with their punk-ish (pop) rock nearly 20 years ago or so. They’ve gone through various phases in that time, at one point adding a few more strings to their instruments and a meatier downtuned flair to the music (see 2005’s “Pahempi Toistaan”). That happened around the same time when everyone else did so as well due to finally discovering Meshuggah again or something. But, they’ve since toned it down (or up) again. Interestingly the band’s origins were in (death) metal when it was formed by Antti Lautala and Toni Wirtanen, but Lautala left the band when he wanted to continue with metal, with the rest wanting to add more pop and punk to it. So, Toni Wirtanen picked up the vocal duties and eventually launched the band into the success it is today. Personally I’ve never gotten the feeling that the band has calculated its way to success, as they’ve been able to keep themselves somewhat relevant and accepted by simply doing their own thing.

During the show, Apulanta bathed in a wall of extreme light, with some displays set up to support the close encounter of the third kind. The stage setup, which I felt to be quite unique for a Finnish act, acted as a clear contrast to the band as the trio performed in classical, childhood fantasy cowboy outfits. I only got to watch the first three or four tracks since I was on the clock, but it didn’t look like the group was underperforming.

The weather was tons better on the bright new day, with sun shining and warming up the place — it was still summer in Finland, hallelujah! I had a clear cut plan. Go in. Three bands. Get out. Due to my prior commitments I didn’t have the opportunity to stick around longer, but that was okay, as the festival had kindly organized all the metal acts to open up Saturday.

THEN CAME SATURDAY

The gates opened at 2:00 PM. I was there 30 minutes later ready to witness Hameenlinna locals, melodic death metal group, Pain Confessor, take on their home turn at three o’clock. Pain Confessor made note of themselves with their debut album Turmoil back in 2004 — especially with their memorable hit song “Lake of Regret” (which is a lake in Hameenlinna where, as it’s been said, people went to wash off their forced baptism). The band released two more albums in 2006 and 2007 but never gained the real, lasting breakthrough they were perhaps hoping for (despite scoring a few international gigs as well). Last year the band returned rejuvenated with an updated lineup and released Incarcerated — their strongest and most interesting outing yet. The album saw Pain Confessor tackle some heavier notes and at times sport a strong Vader-esque feel. Just see “Oceans of Sickness”.

Pain Confessor’s Jaakko Kunnas gazing

The day’s opening show was held on the fourth stage inside a tent that stood within the gated alcohol zone, a new addition to the festival since last year. Pain Confessor’s crowd seemed to consist of the band’s friends and family — not unexpected considering most of the ticket holders were probably still sleeping off their hangovers.That didn’t stop the group from making a decent showing for themselves, though. A reliable live band that hopefully will carve out more interesting, pummeling songs in the future.

Omnium Gatherum still rocking

Next up on the main stage was Omnium Gatherum, making it a second time for me to see them live this summer. They didn’t seem to have a problem with it and I didn’t have any reason to complain either. Omnium Gatherum acknowledged that the festival had a bit of everything for everyone, and hoped that the (still rather small) audience wouldn’t mind some metal. Vocalist Jukka Pelkonen did his earnest to whip at least some kind of a reaction out of the tiny crowd. “You girls up front, yeah, you — clap your hands…Why? Because it’s fun. Try it” or singling out someone at the bar area “You in the In Flames shirt. Yeah you. Show me what you’ve got”. Between his smiles and vocals, he also gave out a general rule to the pop-oriented audience who were there lined up for ‘good seats’ to see shitty Finnish rap sensation Cheek: “Try moshing!”. Omnium Gatherum too did a good, warming show on a sunny Saturday afternoon.

Peer Günt, surprisingly lively

Last on my list was a somewhat legendary, again Finnish, hard rock group Peer Günt who I thought might have called it quits not too long ago. Last time I heard of them, they had a huge lineup change due to alcohol related differences, so I didn’t know if they were still operational. Apparently they were. I saw the band before with the previous lineup about ten years ago at some shady, local American car gathering. Compared to that, the going seemed quite sober. Not necessarily a bad thing, as the band looked quite happy to be on stage despite the early time slot, throwing some authentic-sounding, hard rock ’n’ roll towards the now steadily growing audience and adequately ending my festival experiences. It was finally time to enjoy a bit of the summer — or what was left of it; the clouds were brooding.

After two larger, dedicated metal festivals, Wanaja Festival again provided a nice, differing if not even relaxing experience. The festival’s area, with grass, trees and a big fucking castle at the back, was the best one out of the three, adding to the festivities’ feeling; it felt like a place where you could come, sit around and enjoy the music even if it wasn’t always your cup of tea.

Omnium Gatherum’s audience

According to festival goers, the security was tighter this year as the men in neon vests tried to weed out alcohol from the area (and I too got searched). But inside the festival area, the atmosphere was relaxed and welcoming — even if outside, the nearby city streets were littered with drunken and passed out teenagers trying to grasp what was left of their vacation.

Finnish goddamn summer.

Occasionally the second stage would bottleneck access to the third, but overall it was still easy to get around. I wasn’t too sad to see the fourth stage go, as it meant that not as many bands were booked on top of one another and you didn’t have to stampede from one end to the other to try and get a glimpse of everything. Especially when our Teeth crew was only just one man strong this time around.

Minor defects included the water refilling spots, as their locations seemed to have gone to deaf ears. People didn’t seem to realize that there were actually two places to replenish empty water bottles. Most queued next to the building that housed the third stage, adding to the clutter. There was also quite a bit of flooding from the toilet area nearby, with some of the urinals pouring over; apparently warm weather makes people drink and piss more.

However, the biggest omission that struck me in the gut was the lack of free, sponsored beverages. There was no Coca Cola stand to be found anywhere, which previous years was a great way to get some fluid back in while moving between stages. As hinted, the weather was nice throughout with a bit of burning happening on Friday, and humane warmth on Saturday and Sunday — despite some clouds here and there. Again, Tuska proved to go against all weather reports, as the festival evaded the promised rain clouds.

What I paid attention to this year around was that, going against some reports online, the sound policies were pretty much perfect to my worn ears. At no point did I notice any badly mixed sets on any of the stages that would have distracted one from enjoying the bands at hand. Instead I found myself thinking how the mixes were quite fitting on more than one occasion.

As Teeth’s task force was just one man this time around, I figured I’d take it a bit easier this year and not machinegun with the camera from one band to another. It proved to be a wise decision as unlike the previous years, I actually felt quite healthy on the next Monday after all had been said and done.

Let’s rewind.

FRIDAY

Cut to Fit

“Because this is probably the last time we’ll ever get to play a stage as big as this…” proclaimed Cut to Fit screamer Jere inside the boiler room that held Tuska’s third stage, somewhat taken aback by the fact that indeed, they had a pretty damn good turnout for their gig at Tuska Open Air, especially considering the festival had just begun. “[…] So this will be the only crowd singalong I’ll do…” he continued before adding “You guys seen the South Park episode where the mongols invade and the Chinese guy has to defend…and the mongolians go DURRRRRH? When I count to three, go DURRRRRH! One, two, three [crowd goes DURRRRRRHH!!!]”. Not that I could see it clearly, and maybe it was just sweat pouring down Jere’s face after beating himself into submission on stage, but there might have been a glimpse of joy in his eyes before he instantly rocketed himself into the next song. And with that moment, the grindcore group from Lahti, Finland won me over. Not that I didn’t appreciate their (on average) 40 second long songs—most featuring a burly groove—about various topics that ranged from silly, to social issues (“Next song’s about how hard it’s to watch how your close ones go mental”), the intolerability of life and government’s way to fuck the average Joe up in the ass. There was something very humane and humbling about the event.

Tesseract

Moments before Tesseract had closed their festival opening set on the ‘Radiorock’ main stage. They’d been summoned by speed dial to replace Dillinger Escape Plan and had 60-minutes to sell their djent-influenced, rhythmic and sometimes progressive take on metal to a still cold but ever-growing crowd. While it didn’t seem to be up to everyone’s tastes, having spun Tesseract’s fresh new album Altered State quite actively the past few weeks prior, the show proved well worth my time. The band’s new singer Ashe O’Hara showed that he was quite capable in a live setting as well. The rest of the band played with conviction and precision while making a strong showcase of themselves too.

Abhorrence

I don’t think Abhorrence needs much, if any introduction. After a twenty and some odd years hiatus, the band was back on stage on the smaller second stage, ‘Inferno’. The crowd welcomed the truckload of nostalgia with open arms, and after some adjusting, the band too got back into the groove of it more and more. The band had to throw in everything they had to fill the time slot which also lead to the fact that, in all honesty, they do seem to have some filler. Still, a curiosity that undeniably reminded that the current state of metal in Finland shouldn’t be taken for granted nor that the success of it all was made overnight.

Wintersun

Abhorrence wasn’t the only thing coming back on stage, as Friday saw many bands who had been playing at Tuska not too long ago make a return, including Wintersun, Ihsahn and Amorphis. Wintersun’s latest album Time I sparked some debate with the fans about whether or not it was actually worth the wait, but on stage the new material gelled quite well with the old. The band lead by Jari Mäenpää and backed by Kai Hahto sounded strong and majestic (with a ton of backing tapes), but after a handful of songs, I decided to check out the last few songs from rocking doomsters Tombstoned instead and a bit later, the first few cuts by power metal act Dreamtale. Where the first was quite subdued and concentrated, the latter showed its experience with what seemed like a strong show — considering the music did nothing for me.

Ihsahn

Once Wintersun had done its bit to get some adrenaline going, Ihsahn arrived onto the second stage with Leprous backing him up (who had started the festival in the boiler room at the same time with Tesseract). I couldn’t remember much from the 2010 gig Ihsahn threw at Tuska, but this time his progressive metal charmed me with strong instrumentalization. One thing that stood out was how animated Leprous’ keyboardist Einar Solberg was. The guy pretty much stole the show. After a while, I went to check the remaining 30 minutes of Torture Killer’s death metal marathon. And, oh boy, did the band catch me off my guard. Especially notable was vocalist Pessi Haltsonen who provided some of the best growling I’ve heard in years, and the music steamrolled the packed indoor area into total surrender. Death Metal fans, pay note. Oh yeah, as for Leprous, I learned later on that missing them and their 20-minute (or so) set was a huge bummer as their newest album Coal is some of the best stuff put out in 2013.

Bolt Thrower

Conveniently Torture Killer’s murder seemed to have warmed up the audience as Bolt Thrower received a far bigger (and well deserved) response on the main stage than I believed possible, which was nice. The band seemed happy to throw their only European gig to a bloodthirsty audience, ready for war, death and destruction. And that’s exactly what the legendary death metal battalion brought, picking off songs from their vast discography (“When Glory Beckons” was played in honor of Jeff Hanneman) and serving it all with such absolution that none were left unsatisfied after the 75 minutes of nothing but hit songs were over. Another thing where Bolt Thrower obliterated was the merch booth, which they had set up themselves. T-shirts were around 15 euros cheaper compared to other bands (aside from De Lirium’s Order who also sold their goods at a reasonable price).

During Bolt Thrower’s set, I decided to take a peek of Kuolemanlaakso, the Finnish doom/death supergroup of sorts (featuring Swallow the Sun’s Mikko Kotomäki on vocals). I only stayed for a song and a half, but their crunchy offering sounded good, very good in fact — so much so, that I ordered their debut album Uljas Uusi Maailma (“Brave New World”) a few days later for a closer inspection.

Jere Lehtinen of Dallas Stars fame likes metal

I couldn’t explain it to myself why, but I had been anticipating Amorphis’ gig. NHL legend Jere Lehtinen (of Dallas Stars fame) introduced the band to stage, but in the end, the show left me a tad cold despite the band’s strong (as expected) effort. Perhaps it was the setlist that didn’t get me all that excited, as only “On Rich and Poor” was played off Elegy and none from Tuonela. The new songs sounded good live, though, and especially “Hopeless Days” resonated well with me, albeit the song would be tons better without the happy parts. It’s painful how clear it is that if Amorphis were to fully embrace melancholia rather than try to offer hope where they can, it could give birth to things oh-so-beautiful. It also seemed like Tomi Joutsen had something to prove after all the previous death metal outfits, as he seemed a bit more intense than I’ve seen him before. Tomi Koivusaari, on the other hand, seemed a bit less so, but then again, it was his second show of the day having played with Abhorrence just some hours before.

I’ve never grown to be that big of a King Diamond aficionado, but it would have been a crime not to have the man and his band close off Friday. While King went through some medical issues not too long ago, on stage he proved to be in excellent condition both in voice and showmanship. The group provided a show that would have been right at home at some Broadway theater with their mansion backdrop complete with a dancer acting out whatever roles were needed to illustrate the songs.

King Diamond. Who else?

Some fans seemed to crave for more recent songs, but for some dolt like me, the setlist provided a nice general view. Some Mercyful Fate songs (“Come to the Sabbath” and “Evil”) got played as well, with the traditional drum solo at the middle. The acoustic intro to “Black Horsemen” sounded great, while “Welcome Home” came early in the set to please my expectations. Perhaps the most memorable and entertaining parts of the show were “Up from the Grave” and “Voodoo” that really drove home how big of a performer on stage Kim Petersen really is (along with the convincing stage presence from guitar extraordinaire Andy LaRocque, Hal Patino and Mike Wead).

The show was a great tour de force, making it loud and clear that King Diamond is, indeed, a force not to be reckoned with and that I’ve got some more home studies to do. With all due respect to my old-time favorite Testament, King Diamond provided the festival’s most entertaining set right on the very first day. Everything just screamed heavy metal. Pure and simple.

Singing on the first two Internal Bleeding albums, Voracious Contempt and The Extinction of Benevolence as well as numerous guest appearances on releases from Dawn of Demise, Defeated Sanity, Immortal Suffering, Disfigured, Dystopia and more guest appearances forthcoming. Also playing with almost every death/thrash band in the ’90s and touring North America with Six Feet Under & Immolation

Why write for Teeth of the Divine?

Well I am still writing for All About The Rock, out of the UK, but I have so many interviews/reviews that the best way to disseminate them was through 2 separate sites, where each item posted, will be exclusive to that site. I have loved TOTD for many years and always respected the work they do for the bands, and Erik and I hit it off right off the bat. Also my wife is like you need to get paid for this stuff. I’m like, no, I do this for free, for the sheer love of the scene, which includes fans, bands, labels, and sites like this. The same reason why I was in the scene before- the sheer love of the music scene & fans, nothing more, nothing less

What do you do when not working or writing for the sites?

Spend time with my wife and kids, which are my life! Going to concerts, hanging out with friends. I also listen to plenty of death, grind & thrash bands, eating at new wonderful places, going to the gym, watching my under performing Dallas Cowboys year after year and watching horror movies.

Anything else you would like to add?

Well I hope people like my style of interviewing & reviews. I try and personalize them and throw some humor/sarcasm in the reviews and interviews. I also like to ask some different types of interview questions so the reader gets to know the band/person more. Ultimately if the review/interview can help the band/label sell 1 more CD or shirt than I will see it as an accomplishment. Remember keep the scene united and go out and discover new and exciting bands and make sure to share your findings with the metal masses. \m/

How is that even possible, considering how well they play live and how stellar their music is? Goatwhore has always written some of the most vicious-yet-catchy blackened metal and every time they release a new album, the critics typically give them glowing reviews.

Goatwhore is also an act that is constantly on the road and playing gigs whenever and wherever, yet they somehow still are relegated to near obscurity, at least that’s how it seems every time I’ve seen them live. With so many songs that are filled to the rim with memorable hooks and savage riffs, these guys should be huge (at least in metal terms).

In any event, Goatwhore swung back through Las Vegas and tore apart the Cheyenne Saloon like they’ve done before. This time was no different, though there were a few more people in the ol’ saloon than before, so hopefully that means their reputation is finally starting to circulate. But regardless of the crowd size (being in a 21+ bar certainly has hampered the amount of attendees), the New Orleans veterans laid waste to the place and never looked back.

After a few local opening bands played their hearts out, anchored by the incredibly talented Tyrants of Torment, Denver thrashers Havok took to the stage and burned through a surprisingly short set of only eight songs. After some technical difficulties during the opening song “Covering Fire”, Havok got things rolling into high gear.

Havok played an arsenal of some of their best tracks like “Point of No Return” and “Scumbag in Disguise” as well as two new songs from their upcoming new album: “I Am the State” and title track “Unnatural Selection”. Though their set was rather brief, Havok did a well enough job to set the stage for Goatwhore.

When Goatwhore took the stage, it was well past midnight, but it didn’t matter to anybody in attendance. Though their sound was a bit muffled compared to the other times I’ve seen them at the Cheyenne Saloon or abroad, they still were tight and devastating.

After opener “Collapsing in Eternal Worth”, the NOLA boys followed it up with the scorching “When Steel and Bone Meet” and the pulverizing “Parasitic Scriptures of the Sacred Word.” Goatwhore wasn’t finished at that point, though, as the devilish fiends incinerated the crowd with a virtual best-of from their entire catalogue.

After set highlight “Alchemy of the Black Sun Cult” about halfway through the performance, Goatwhore pulled no punches until they ceased operations with the savage “Apocalyptic Havoc.” When it was all said and done, Goatwhore once again proved they are one of the best live acts going today. Hopefully at some point enough people will wake up to the notion of how superb a band they are and start packing the house whenever they come through town.

Goatwhore’s  Setlist:

1 Collapse in Eternal Worth

2 When Steel and Bone Meet

3 Parasitic Scriptures of the Sacred Word

4 The All-Destroying

5 Alchemy of the Black Sun Cult

6 Nocturnal Holocaust

7 Baptized in a Storm of Swords

8 Sky Inferno

9 In Deathless Tradition

10 Judgement of the Bleeding Crown

11 An End to Nothing

12 Apocalyptic Havoc

(no encore)

Havok’s setlist:

1 Covering Fire (Dave’s amp blew a fuse 2 mins.… more)

2 Point of No Return

3 Scumbag in Disguise

4 Cradle to the Grave

5 I Am the State

6 Unnatural Selection

7 D.O.A.

8 Time Is Up

http://www.goatwhore.net/

http://havokband.com/

Stadium.

There were some issues that weren’t about pure perception though. On Saturday, one of the two entrances (at the opposite sides of one another) was bottlenecked and people had to wait in queue for quite a while. The biggest problem was with the second stage. It was hidden on the road next to the stadium rather than being in the relative closeness of the main one. It seemed like it was an effort away for a lot of people who didn’t want to walk up all those steps and the concrete ramps just to see bands they didn’t already know. Scientists say people are becoming more passive each and every day and the second stage’s turnout was a proof of that. Those who did turn out, however, seemed to be quite devout. There were few minor details that hindered the overall experience as well. The signing sessions had decent-sized queues, which interfered with the water refilling spots, but luckily the weather wasn’t as scorching as it could have been.

Where’s Waldo?

On the other end, as far as comfort goes, it’s hard to complain as there was plenty of seating available, the running track provided a humane enough experience for aching feet (compared to pure concrete) and best of all, one didn’t have to sneeze black shit (dust) from one’s nose for the whole week after. Overall, it was nice to have the somewhat refreshed Sauna Open Air back.

But let’s get on with the bands, shall we.

SATURDAY

Mikko: I saw Stratovarius live once years ago well before Tolkki lost his mind and started meddling with oddball publicity stunts and bloodied up female singers. None of that was to be seen, nor Tolkki, but the Finnish power metal institution sounded different, and dare I say, even a bit harder now. I haven’t really paid attention to the band, but I suppose it helps when you pretty much switch the whole lineup like Kotipelto and Jens Johansson have done. It seems to have paid off. Matias Kupiainen (guitars) has the tools to go into aggressive mode while still maintaining the virtuosity and delicate touch that Stratovarius fans are known to love, and the rest of the guys (including bassist Lauri Porra) are no slouches either. Surprisingly, Kotipelto seemed a lot less irritating too than the last time I saw the guy live — as if he’d come to realize that you don’t need to go hunting high all the time. Despite listening to Episode and Visions a few times in my youth, I never had a mental connection with the band. However, on Saturday, I felt satisfaction seeing them doing their thing, but most of all, it was nice seeing them also branch out from their old conventions.

Lauri Porra of Stratovarius is a flashy bass player

Matti: I was stuck in the queue when the band was playing. Not that big of a loss really, as I’ve never been a fan and thought they were pretty much done and dead already. At least I got the latest scoop (or half of it) listening to a few drunken metalheads who desperately tried to not only make sense of the situation with the band, but also empty their full beer cans as fast as possible before security check.

— Who’s that playing?
— I think it’s (hic) Stratovarius.
— Oh, I thought they played yesterday?
— No, that was just Timo Kotipelto (barf)
— Wait, I thought Tolkki was there also?
— No, just Kotipelto. Tolkki (barf) does not play anymore.
— What? I heard he came back?
— Never happened (hic)
— Oh… whatever, I am here to see Bodom!

Blood Red Hour Glass. So much rage.

Mikko: I’d never ever even heard of Blood Red Hourglass (or BRHG as they called themselves) before and I doubt you’ll hear much of them either; the group mingles in a somewhat crowded and contested territory, sailing somewhere between Lamb of God influences and those European “death/thrash” metal acts like Konkhra… you know, the one’s that you can listen through without any disdain but can’t remember much about afterwards. I was about to mention Pantera as a clear influence as well, but there didn’t seem to be as big of an emphasis on grooves or fist-in-your-face shredtastic riffing. While BRHG was putting a commendable effort for a somewhat to-the-norm pummeling of a show, I felt the band still didn’t quite go above and beyond like they should have. They failed to achieve that (almost over the top) ferocity one has come to expect from bands like these in a live setting, although on a positive side they didn’t look corny by acting out rehearsed stage antics either. The rock’n’rolling did get better and better towards the end though, so perhaps there’s an underlying upside to it all.

Matti: Agree. In a way I liked all that was going on but nothing really stuck or popped. Nothing stood out for me as something special. There were some Pantera-esque sounds in the middle of a few songs, though. Maybe they’re still there if I ever hear their current album. The guys did seem to show some dedication as some of the band members had gotten their BRHG-logo inked on their skinsuits with cat-sized letters.

Alexi Laiho still angry about the Bodom-lake murders.

Mikko: To tell you the truth, I’ve never made it a mission to see Children of Bodom live but figured I’d pop my Bodom cherry since they were up on the main stage next. For a band that has toured as much as they have, I was surprised how lackluster their show turned out to be; it first seemed as if they’d been forced at gunpoint to be on stage — as if that silly epithet, Children of Boredom, had actually become a reality. It got better towards the end and the crowd seemed to eat it all up, but looking at it overall, it just felt… flat. Not that the musicianship had gone anywhere, but otherwise it seemed like the machine had not properly warmed up yet. They also played a couple of songs (“Transference” and “Halo of Blood”) from the fresh new album and while there have been some slight alterations to their 20-year-old formula (a bit less pompous and some more extreme influences thrown in), nothing really stood out that would have made a cynical dick like myself go “Wow. I need to hear more of this.” All the musicianship is still there but… meh.

Matti: Yeah. I felt like COB are already way past the high time to get some kind of real inspiration to what they are doing — or rather selling. At this point it’s like this band has run out of all that vital young-boy angst & aggression that once built and fueled their rise. The milk has run out and the old scythe they once wielded with vigor has gotten woefully dull.

Youthful vigor and Lost Society.

Mikko: Speaking of young vigor and morning wood, while well established bands were underachieving, the biggest surprise of the festival went by the name Lost Society. The young thrash metal outfit looked like they’d come to 2013 from 1986 with a rad fucking time machine. They got some notoriety in a band contest where they got signed by Nuclear Blast. For good reason too, as Lost Society looked extremely happy to be on stage and far more eager than anybody to prove themselves worthy of one’s attention. The band plays no-bullshit, pure old-school American thrash metal and as said earlier, they certainly looked the part. The young guns suffered from some technical difficulties at first, which didn’t slow them down one bit and by the end of their 30-minute set, they had already rocked the shit out of it and achieved a level of enthusiasm that very few bands could touch over the weekend. Lost Society definitely made Bodom look even worse. To conclude, if thrash is your thing, definitely keep an eye out.

Matti: Shit! Did I come here just to confirm your thoughts or are we now tuning into some retarded hive-mind, melt-state consciousness. While this was my first gentle time with Lost Society, for weeks now I have almost daily admired their debut record’s ‘80s throwback cover art, which has been hanging on my local record shop’s display window. Outside of the cool (and what turned out to be pretty foretelling) cover art, I had no idea what to expect when I headed towards the Inferno stage as it was just about to light up. And light up it did.

These little devils made a case for themselves, all the while making me feel old as shit — not that it’s very difficult nowadays. Bunch snot-faced young lads (and most likely high school dropouts) playing music from an era when even I was just a small child. How dare they! And how old were these guys? 17-18? Fuck. But alas, I must forgive them, for they played great homage to the metal gods of the old. I see a bright future for these promising guys and I hope they can keep the same energy level going on when their balls start to sag some more.

Mikael Åkerfeldt had some fun things to say. Again.

Matti: After the young guns, came the old again. I saw Opeth play live a few years back when they were going through that clear transitional period with their music with all those quieter and subtle progressive rock elements, which would ultimately lead them into Heritage and the Åkerfeldt/Steven Wilson collaboration Storm of Corrosion. This in result made that gig a pretty big letdown for me as I was waiting to hear more tunes from their (at the time) most recent outing, Watershed. Instead I got to hear a lumbering set comprised of a couple of bigger Opeth hits and a bunch of less played songs that were plagued from the beginning to the end by what felt like randomly placed ambient prog rock gimmicks. Back to 2013, Opeth’s setlist seemed to be more streamlined and well-balanced. In a short but versatile performance, we saw the merry band play it pretty close to the vest and by doing so, showcased pretty much all the band’s strong points. I could not but enjoy the show full-heartedly while it lasted.

Mikko: Opeth did fit the “summer’s here” feeling like Finnish people passing out in public from alcohol poisoning during the summer time (then again they do that in the winter time as well). Not only did Åkerfeldt rile up the audience with his known antics (bad mouthing the Finnish hockey team), but he also seemed somewhat genuinely sorry for having to do a one hour set. But it was a warming 60-minutes.

Finntroll showed who was in charge.

Mikko: Instead of replacing some no-show act on a short notice, Finntroll was actually summoned to play their trollish tunes from the get-go. They have always seemed able to gather up a crowd even when they’ve been mere mercenaries, but I don’t think I’ve personally sat through a complete set from them. I did this time and was thoroughly entertained and it seemed like, again, other people were too.

Matti: Yup. Strong support for Fintroll. The second stage was swamped by people in a way that was not seen again during the two day festival. The nearest beer cage was filled to the quills and people were jolly while the spock-eared festival veterans stomped on the stage.

As a side note, while I found myself looking through the lens at the trolls in full make-up and costumes, I began to go through all the bands that have crossed my viewfinder. It dawned on me that a lot of those bands had some sort of extravagant metal uniforms on; be it troll ears, horned viking helments, chainmails, denim vests and band tags, artistic face paints and decorative mic stands — no corners are cut and none shall be spared. Dress up or die. Like one guy who liked to dress up once advised, “It rubs the lotion on its skin or else it gets the hose again…”

Mikko: Maybe in the future, we’re going to have turf wars at metal festivals when the vikings fight against denims all the while the Broadstreet Corpsepainters are gooning up the casual non-dressers.

Nightwish’s first actual front woman.

Mikko: Speaking of casual-friendly music, Nightwish were up next to finish and tidy up Saturday.

After going through two vocalists (namely Tarja Turunen and Anette Olzon) Nightwish seems to have finally found the perfect front woman in Floor Jansen. As people have reported from the Nightwish shows they’ve seen with her at the helm, she did in fact, look right at home and the rest of the band didn’t seem to be playing with a stick up in their ass either. Dare I say, Nightwish actually looked like a band that had been playing together as a band for quite some time… with proper chemistry and all. Floor also managed to gel in with the music too, as she performed through old and new songs without a stretch or a worry in her voice, all the while dominating the stage with her tall presence. Third time’s a charm and perhaps the band has finally found the singer they’ve always been looking for. Will they be able to keep her along? Who knows, but I knew I was hungry so as “Storytime” hit the airwaves, I headed out to the warm evening of Tampere city in a search for a tasty… burger.

Matti: I hadn’t been paying attention to Nightwish since Oceanborn. At the time they were offering something different, even if the lyrics were corky as hell and badly pronounced. That was well before they became so theatrical that they needed to have their own movies to justify all the bullshit.

In a way I could draw some parallels between the evolution of Children of Bodom and Nighwish. While the path traveled is a little different, in the end both seem to have ended up inside an artistical void, where all straws have been pulled to maintain the commercially successful mold. Both were children of the late ‘90s and when they both hit the streets almost simultaneously, they became the new hot things in the Finnish metal scene. From there, they soon gathered the somewhat deserved international appeal. Now, both bands seem to have gone through the natural cycle and stayed well past their welcome; desperately trying to keep a falling empire afloat. Both bands seem to have gotten as big as they possibly can. Now they’re just stagnant in a coma, getting bloated with artificial efforts of maintenance.

Nightwish and the audience.

So where was I? I found myself totally out of the loop on who was singing and why. Walking towards the main stage to snap a few photos, equipped with my dog-like sense of super hearing, I got it all explained to me from afar by a random conversation.

“Dude! I hear Nightwish have yet another new female vocalist…” some guy said to another, before unleashing the ultimate reason as to why Floor Jansen was better: “…she’s got a way better ass than Anette Olzon!”

While in some other context this might have been a valid selling point for me, I carried on to sneak a peek and a few tunes too. In the end, to put it bluntly, I was not that impressed. Unfortunately, living my life completely unaware of Anette Olsen, I couldn’t compare how big of an improvement Floor was. But with the information given to me before, maybe I can do some ass-to-ass comparisons when the next Nightwish singer is crowned. [Insert some generic beauty pageant theme song here to close day one].

“Dude – the new Nile album just came out! I want to get it, but I don’t have time to pick it up!” he exclaimed in a panic.

I wasn’t sure why it was necessary to purchase a CD in the real world, rather than iTunes, but I offered to stop by the record store later that day. Once inside Rasputin, I went straight to the “Metal” section, but the new Nile album was nowhere to be found. Fortunately, this was merely an excuse for me to hit on one of the employees. I searched around for the girl with the greatest number of piercings, and made my move.

“Nile? What is that?” Is that the whole name of the band?” she asked, clicking her plastic-covered mouse and typing things on the keyboard.

“It’s a metal band,” I said, attempting to exert the required levels of confidence and comfort, “they’re pretty legit. I think they’re from Europe,” I said, pretending to be completely uninterested in the interaction.

She found nothing. Neither the band, nor the album album were in the database. I walked away without the CD. For a moment, I was afraid that I would have to go without hearing the album, before realizing I could buy it on my phone, instantly. Through modern technology, I would have the chance to pass through the Gate of Sethu while riding the train home. This was when my indoctrination began.

A few months later, the announcement was made that Nile would be coming to San Francisco. I informed Jordan, but due to his lifestyle, he was forbidden from partaking in the sacred art of devil worship and self-pain infliction. Instead, I found a local fan, and offered to buy them a ticket in exchange for holding my camera for a few songs while I fought in the mosh pit.

The night of the show came quickly. At the exact time the show was supposed to start, a group of dudes with curly hair and beer bellies hit the stage and began playing generic “Mosh now!” songs. Since no opening band was announced, I assumed that this was Nile.

I walked over to the merch booth and attempted to make conversation with the young, attractive woman that slouched behind a stack of 12 extra large black t-shirts.

“SO, IS THIS NILE?!??!!?” I asked, attempting to yell over the atonal 16th notes of the rhythm guitarist.

“What?! No! This isn’t Nile!” she exclaimed, almost offended. I guess I blew my cover.

The opening band, which I couldn’t find the name of, continued to play their repetitive riffs until they stopped to make an announcement.

“For those of you who remember us, we have been around since the TRUE days of metal, back when…”

This point, they proceeded to name drop a few bands which I presumed were important during the early era of metal, though I elected not to pay attention. I came here to hear music (well, actually, to take photographs), not to hear a history lesson.

“Yeah, we used to play with…” they continued on, name dropping more bands which were probably embossed on the patches of half the crowd, which was cheering vociferously at the announcement.

Then, they continued to talk even more.

“Yeah, two guys in our band are dead. That’s because we… we… we….. we PUT THE DEATH IN DEATH METAL!”

That’s cool – I guess? Maybe? I don’t know. They didn’t really put that into any context. From their point of view, having people in your band die makes you death metal. Can’t argue with that. I guess.

“Now we’re gonna play some NEW STUFF that was actually written in the last ten years!” they yelled. I wouldn’t sure if they were being intentionally ironic, or if something written within the last ten years was actually new to them.

Finally, they stopped playing and said their “Thank you! Now buy things!” speech, and the real work began.

The setup took an inordinate amount of time. Rows of guitars were lined up on the stage, as if they were disposable. Computer monitors were placed at the front of the stage to manage electronic elements, and a giant, Egyptian-themed drumset was placed upon an elevated platform.

The 4-piece stepped out casually; no fanfare or acting was involved. Their faces held the charismatic smiles that you generally only see from those friends of yours that say they are “living life to the fullest” and mean it. Without attempting to be dark and evil, or bad and sexy, they stepped out, beerbellies hanging out without tension, and began to play.

Everything was forgotten. Immediately, one could notice that the digital output from the pre-recorded electronic elements was perfect. It filled the concert hall with a haunted, echoing theme that inspired both silence and reverie.

In regards to lighting, sound, and musician performance, the entire production was without error. The band continued on as local musicians in the audience made insightful comments along the lines of “YEAH ITS PRETTY GOOD,” and “THESE GUYS ARE GOOD AT PLAYING GUITAR.”

The performance consisted of orchestrated elements that rose and fell with the music. At the peak of intensity, the performers would tense up in zen-like focus, picking at advanced solo melodies at a speed beyond measurement. Between the high moments of rock intensity, electronically lead soft sections would serenade the audience into a trance, the lights dark and dim.

Letting my dress-code-appropriate guitarist friend hold my camera for a moment, I gave into the resistance to join the center of the pit. Fighting against metal heads, misled teenage girls, and backwards-cap bros, I dodged, rolled, slammed, gyrated, and banged my body into complete and total exhaustion as Nile maintained their enthusiasm. Strangely, a part of myself hoped that they would notice me. Photographers can be a nuisance to performers sometimes, and I wanted them to know that was giving my all to support them.

The overall experience was satisfyingly lengthy. Playing through a large selection of songs, Nile gave the audience an experience that was well worth their money. That, and Slim’s also offers free water at a cooler in the back of the room. Win!

Devin Townsend – Epicloud (Inside Out Music)
I’ve only recently gotten into Strapping Young Lad, so I’m pretty late to the Devin Townsend party, but after one listen of “Liberation,” the soaring, big, brash, rollicking metal opera track from Epicloud, I was hooked. Both Epic and Loud, this was the feel-good release of 2012 and gave way to many happy, headbanging sessions in the car with my daughter. Addictive, catchy and uplifting – Epicloud was a welcome change to my usual fare and shows that Hevy Devy isn’t so heavy all of the time.

Beyond All Recognition – Drop=Dead (Napalm Records)
2012’s guilty pleasure for me was a dubcore album from a Swedish band released on Napalm Records. Full of huge bass drops and massive breakdowns while delivering competent, heavy-ass deathcore – but without the silly dance parts, clean vocals or annoying elements that bands like Skip the Foreplay or Eskimo Callboy have – Beyond All Recognition tested the limits of my car stereo and garnered themselves a new fan, despite the image and label the band function under.

Before the Dawn – Rise of the Phoenix (eOne)
Before they split up, Finland’s Before the Dawn delivered their finest effort. Dropping the clean vocals and upping the heaviness and melody, Rise of the Phoenix was an album that could give Insomnium and Be’lakor a run for their money in the realms of somber, melodic death metal. Supine but heavy harmonies, blastbeats and some simply killer riffs made this a really solid album that should have cemented the band on the Finnish metal map, but instead ended up being a damn fine swan song.

The HAARP Machine – Disclosure (Sumerian)
Between the Buried and Me‘s 2012 opus was a let-down for me. Luckily, the UK’s The HAARP Machine stepped up and delivered their own version of progressive, experimental and challenging metal that washed away The Parallax II. With less self-indulgence and more actual metal as well as a heavy Middle Eastern vibe by way of Al Mu’min’s sitar, The HAARP Machine, despite the Sumerian label sound, delivered one of 2012’s most interesting releases.

Samothrace – Reverence to Stone (20 Buck Spin)
I’m still upset at myself for not getting around to reviewing this in 2012. After absolutely loving 2008’s Life Trade, the 4-year wait and massive 2 track release never initially hooked me like the debut did. And based on the lack of coverage and press for the release, I wasn’t the only one. After a few dedicated listens, the album truly sunk in and revealed itself to be a real grower, despite being initially intimidating. The 2 songs really unfurl and develop, and while lacking the immediacy of say, “Awkward Hearts” from the debut, Samothrace appear to be a real heavy hitter in the US doom scene – if they can just hone their sound a smidge.

Sylosis – Monolith (Nuclear Blast Records)
I know metalcore is a dirty word in metal, but these Brits knocked it out of the park with their aptly titled and massive third release. I remember reviewing their 2008 debut, Conclusion of an Age, for Metal Maniacs and hearing a dull Unearth clone. With Monolith, a line-up change and a fiercer thrash-based sound has resulted in an album that blows the likes of All That Remains out of the water and and shows these guys to be a real contender in the US-dominated metalcore scene.

JORDAN ITKOWITZ

Ancient Ascendant – Into the Dark EP (Forepoint Records)
I just heard about these guys recently ’cause Enslaved is touring with them in the UK. What a show that’s gonna be. These guys mix chunky melodic death riffing with Swedish melodic black metal for an At the Gates-meets-Dissection assault which kicks all kinds of unholy ass. Tons of groove, smartly written songs, great guitar tone and snarling vocals, plus the occasional moody interlude (shades of early Opeth). Expect big things when these guys drop their debut, but for now, seek this out immediately. This would have been my EP of the year had I heard it in time.

Psilocybe Larvae – The Labyrinth of Penumbra (Buil2kill Records)
Finland may be the world’s melodic death/doom capital, but head further east and you’ll find that Russia has its share of excellent acts as well. Venture into this labyrinth to find slow lurching segments chased by faster gallops, ragged growls and screams cresting to soaring cleans, and an overall exceptional sense of pacing and dynamics. Had I given this one more listens last month, it would have made my year-end list, no question. (Credit to Shane for posting this in the Now Playing thread).

Threshold – March of Progress (Nuclear Blast)
I was very sad to hear that Threshold vocalist Andrew “Mac” McDermott passed away in 2011. He was one of my favorite prog-metal vocalists, with a smooth and soaring delivery that meshed perfectly with the band’s chunky guitars and hook-filled songwriting. The band returned to their original vocalist, Damian Wilson, who has a slightly more operatic style (no surprise, the guy played Jean Valjean in Les Miserables for awhile), but I think I was so thrown by not hearing Mac again that I only gave this new album a few spins. After returning to it, it’s another really strong Threshold album. It’s not as infused with smooth 80’s AOR hooks as Subsurface was, but it’s still packed with lovely melodies and intricate proggy fireworks.

In Mourning – The Weight of Oceans (Spinefarm Records)
Lots of love for B’elakor this year, but no one paid much mind to the third effort from Finland’s In Mourning. Too bad, as they’re another strong voice in the melodic death/doom arena, with clear and keening melodies, gruff vocals and elegant atmosphere. Great stuff for fans of Insomnium, Opeth or old Katatonia.

Kälter – Ubuntu (Maple Metal Records)
This Canadian melodic/progressive death act may have started as a Children of Bodom cover band, but they’ve sinced grown into their own unique beast – and it’s a weird one. Judging from the artwork and title here, you might expect a prog-metal take on Sepultura’s Roots. Instead, you get thrashy melodeath, lots of burbling, symphonic and vaguely Eastern synths and the odd 70’s Genesis prog freakout. Oh and some tribal drums. Perhaps the confusion comes from the fact that Ubuntu is a South African term, but this artwork depicts a Central American (Maya? Aztec?) warrior. Whatever the intent, the end result is still an exuberant and unpredictable entry to the melodeath scene.

KEVIN  E.

ADAM PALM

After Death/Unaussprechlichen Kulten – Dwellers of the Deep/The Madness from the Sea (Proselytism)
This elaborate split includes a disc for each band and a huge fold-out poster/lyric sheet housed in a giant double gatefold digipack with cover art for each half and extensive liner notes on the concepts behind each song. And, the music is more than deserving of its packaging. After Death is led by Nocturnus mastermind Mike Browning, and carries the atmospheric, technical death/thrash sound of classics The Key and Thresholds into more mystical realms. Unaussprechlichen Kulten hails from Chile and sounds like a raw, Lovecraftian Immolation. It may seem like an unlikely pairing, but their shared themes, attitude, and masterful songcraft make this one of 2012’s most all-around unfuckwithable releases.

Weapons to Hunt – Blessed In Sin (Vic Records)
Despite the facts that Sinister never completely broke up and this band existed as Infinited Hate until recently, this feels like a Sinister comeback album. The band is now comprised entirely of former and current Sinister members and the music resurrects the vigor and twisted guitar work of Cross the Styx more than any other album since, except with a hint of early Comecon.

Leukemia – Love (Vic Records)
This eccentric, varied Swedish death/thrash album was recorded in ’94, but didn’t see the light of day until just last year. Swedeath with this much character is hard to come by nowadays.

Darkified – Cthulhu Riseth – The Complete Works of Darkified (Vic Records)
A long-overdue reissue of everything ever recorded by this tragically short-lived Swedish band from the early ‘90s who specialized in uniquely deranged, atmospheric death metal. The remastering job by the mighty Dan Swano makes it all sound better than ever.

Evadne – The Shortest Way (Solitude Productions)
These despondent Spaniards take full advantage of every past development in melodic death/doom, painting a bleak picture with shades of Rapture, My Dying Bride, Slumber, Revelations of Rain, Swallow the Sun and Funeral. It won’t win any awards for originality, but its flawless execution more than makes up for that.”

CHUCK KUCHER

Nadja – Dagdrøm (Broken Spine Productions, Daymare Recordings)
The prolific drone/doom duo returned for another sublime slice of their patented buzzing magic. Dagdrøm may be familiar territory for the band, with a sound so lustrously thick and warm you could wear it like a parka, but the execution is as good as ever. Dagdrøm is a fine entry point to newcomers and a welcome return to form long time fans.

The Catalyst – Voyager (Forcefield Records)
A bad acid hardcore/noise rock trainwreck. Scalding vocals, face shredding blasts of bad trip psychedelia, and angular Unsane-by-way-of-Converge riffs mark Voyager as one of the most caustic and belligerent releases of 2012. It’s the perfect album for the end of a shitty day, or the beginning of an even worse night.

Ehnahre – Old Earth (Crucial Blast)
Old Earth is to doom what Obscura was to death metal. Ehnahre dragged Khanate through a jazz-infused death metal blender and produced a challenging, disjointed and atmospheric journey through the earth’s blackest soil. Old Earth is even more discordant, more abrasive, more immersive and ambient, and altogether more impressive than their excellent debut.

Kowloon Walled City – Container Ships (Brutal Panda Records)
San Francisco’s Kowloon Walled City took a bit of the noise out of their sound for their newest album, but that doesn’t mean Container Ships is any less heavy. The cleaner tone is coupled with slower, sludgier, and more emotive songwriting that calls to mind Pelican and Disappearer. This additional emotional heaviness adds depth to their sound and magnifies the heft of their bursts of discordant noise rock.

LUKE SAUNDERS

Bell Witch – Longing (Profound Lore)
The Seattle duo may not have shared the acclaim of some of their more experienced contemporaries in the funeral doom field, but fans of the style would be wise to check out this monstrous slab of painful, crawling extremity. Comprised of a mere six tracks but clocking in over an hour’s worth of despair and funereal melody; Longing is the perfect companion piece to Loss’ Despond album. Like that particular album, Longing plumbs the darkest depths of the human psyche, and although it’s not quite as compelling or razor-to-the-wrist inducing as Despond, Bell Witch has crafted a sparse yet weighty debut that is a powerful, emotional piece of extreme artistry.

Ne Obliviscaris – Portal of I (Aural music)
This Australian band’s stunning debut escaped my radar upon its mid-year release. In the catch-up period of late 2012/early 2013 I came across a track on a sampler and the full-length has since proceeded to amaze and mesmerize. Floating around in the Aussie metal underground for several years, Portal of I is the culmination of relentless hard work and craftsmanship in sculpting this monster (and at times bloated) 71-minute epic. Ne Obliviscaris’ highly inventive progressive metal has shades of Opeth and Focus-era Cynic, but their sound transcends easy classification. Portal of I is further embellished by a blackened, classical edge and their ambitious formula avoids sounding derivative or awkward in delivery. The jazz inflections, clean vocals and use of violin are not overdone, instead adding a rich and complex new dimension to their intricate progressive metal arrangements. Capped off with a stellar production job, this fucker oozes class and comes highly recommended.

The Levitation Hex – The Levitation Hex (Quadrum Records)
Another Aussie release that didn’t get the attention it deserved. Essentially a supergroup of sorts, The Levitation Hex are comprised of ex and current members of Alchemist, Alarum and Aeon of Horus. The brainchild of vocalist/guitarist Adam Agius (ex-Alchemist), The Levitation Hex is a natural extension of his vastly underrated former band, but with a different enough vibe and angle to sound like a fresh new adventure. The progressive and psychedelic elements are balanced by a taut and muscular groove-based approach, while the mildly experimental song-writing threads hypnotic passages and tribal rhythms into the mix. In short, The Levitation Hex crafted an intriguing debut, well-worth checking out.

Windhand – Windhand (Force Field Records)
This is another low-key gem that got plenty of airplay during the earlier part of the year. Without any strong label backing and long delays in the pressing of this release, it appears destined to fall through the cracks. It’s a shame too as this is an excellent piece of earthy stoner-doom, shrouded in a druggy haze and bookended by the chilled-out, ethereal vocals of Dorthia Cottrell.

Goatwhore – Blood for the Master (Metal Blade)
Yeah I know, Goatwhore aren’t exactly in need of extra promotion with the Metal Blade juggernaut behind them; but another solid album from the band, released in early 2012, was buried under a slew of top-notch releases. Goatwhore are the kind of band required in every metal collection. Their lack of musical and emotional depth is counteracted by a no-frills, unpretentious dedication to metal, and the gift of creating a skull-crushing black/death/thrash hybrid that is undeniably heavy, catchy, and above all, fun to listen to. Complete with another robust Erik Rutan production, Blood for the Master is not their finest hour (that honor goes to A Haunting Curse), but is another consistently solid and enjoyable album that rocks hard and pulls no punches. Let’s hope Ben Falgoust finds the time to crank out a new Soilent Green album in 2013.

Electrocution – Inside the Unreal (Aural Music/Goregorecords)
Originally released in 1993, this old-school death metal gem from the sub-genres golden period was resurrected for the reissue treatment in 2012. Having missed it the first time I was stoked to become acquainted with this excellent effort from the Floridian-influenced Italian unit. Although I can’t provide a comparison with its original recording, the stout (and remastered) production is respectable for its era, offering ample punch and clarity. The addictive songs follow a basic blueprint and are fast, catchy and brutal old-school DM workouts.

King Parrot – Bite Your Head Off (Third Verse)
A recent discovery, the young Australian band dropped this high-energy, maniacal slab of punk/thrash/grind madness during the latter stages of 2012. In the process they emerged as a band to keep a close eye on.

Teethofthedivine reviewed almost 400 albums in 2012. I reviewed over 150 of them. Here are the highlights and a few low lights as well.

1) Binah – Hallucinating in Resurrectre (Dark Descent Records). Best label right now.
2) B’elakor – Of Breath and Bone. (Kolony Records). So smoothly heavy and somber.
3) Gorod – A Perfect Absolution. (Listenable Records). Catchy tech death done right.
4) Anaal Nathrakh – Vanitas (Candlelight Records). Vicious return to form.
5) Beyond Terror Beyond Grace – Nadir. (Willowtip Records). Best style shift in recent memory.
6) Downfall of Gaia – Suffocating in the Swarm of Cranes (Metal Blade). Great new band.
7) Horrendous – The Chills (Dark Descent Records). Better than Asphyx’s Deathhammer.
8) Liberteer – Better to Die on Your Feet Than Live on Your Knees (Relapse Records). Napalm who?
9) Indesinence – Vessels of Light and Decay (Profound Lore Records). Good year for Binah lads. Amazing packaging too.
10) Stagnant Waters – Stagnant Waters (Adversum). Utterly insane brilliance.
11) Pallbearer – Sorrow and Extinction (Profound Lore Records). Gorgeous melancholy.
12) Chaos Inception – The Abrogation (Lavadome Productions). Did Nile better than Nile.
13) Revel in Flesh – Deathevocation (FDA Rekotz). FDA is Europe’s Dark Descent.
14) Ævangelist – De Masticatione Mortuorum in Tumulis,(I, Voidhanger). Nasty.
15) Daylight Dies – A Frail Becoming (Relapse Records). US doom metal’s best kept secret.
16) Incantation – Vanquish in Vengeance (Listenable). Reclaiming the throne indeed.
17) Desolate Shrine – The Sanctum of Human Darkness (Dark Descent Records). Finnish death metal is killing it.
18) Pseudogod – Deathwomb Catchechesis (Hells Headbangers). Filthy.
19) The Great Old Ones – Al Azif(Les Acteurs de l’Ombre Productions). Blut Aus who?
20) Eis – Wetterkrutz (Prophecy Productions). glorious rise from the ashes of Geist.
21) Murder Construct – Results (Relapse Records). Good year for Travis Ryan with this and Cattle Decapitation.
22) Dying Fetus – Reign Supreme (Relapse Records). So consistent.
23) Black Breath – Sentenced to Life (Candlelight Records) Early 2012 release almost made me forget about this.
24) Gorephilia – Embodiment of Death (Dark Descent Records). Got lost in Dark Descent’s awesome slew of releases
25) Dordeduh – Dar De Duh (Prophecy Productions). Not Negura Bunget.
26) Cult of Fire – Triumvirát (Demonhood Productions). Wicked 70s laced black metal.
27) Sophicide – Perdition of the Sublime (Willowtip). More tech death with killer melodies.
28) Maveth – Coils of the Black Earth (Dark Descent Records). See Desolate Shrine, Gorephilia
29) Krallice– Years Past Matter. How was this self-released? Did HHH fuck it up for everyone else?
30) Finsterforst – Rastloss (Napalm Records). Epic.

2011 Releases that would have been on 2011 list if I had heard them sooner: Cormorant– Dwellings, Omit – Repose, Beaten to Death – Xes and Strokes

Most Notable Omission: Between the Buried and Me

Best Reissue: Desecrator– Subconscious Release

Awesome Album that I’m pretty sure I’m the only one in the US who heard: Desert Beneath the Pavement – Transit

Best LP: Bréag Naofa – Bréag Naofa(Panic Records), Panopticon – Kentucky.

Best Label : Dark Descent Records- seriously, look at the above list. And then realize they also released albums by Father Befouled, Paroxsihzem, Weregoat, Anhedonist, Coffin Texts, Emptiness and the Timeghoul, Morgion and Cianide compilations.

WTF??????: Sigh – In Sominphobia (Candlelight Records).

Best EP: Spectral Lore/Locust Leaves, Warseid – Where Fate Lies Unbound.

Biggest Letdowns: Nile, Wintersun, Necrovation, Undergang

Enjoyable but overrated : Napalm Death, Blut Aus Nord, Asphyx, Neurosis.

Time to Hang it Up: Grave. Funeral Whore did Grave better than Grave.

Guilty Pleasures: Beyond All Recognition – Drop=Dead, The Acacia Strain – Death is the Only Mortal, Whitechapel – Whitechapel.

Best Reunions/Comebacks: Dehumanized/Antropofagus. Comatose Music killing the death metal comebacks.

Worst Album of 2012: Babylon Mystery Orchestra –  Poinium Cherem. Seriously- google that shit, its comically bad.

It’s about midway through a Sunday afternoon, and I’m in the city of Hayward, California, looking at what appears to be a one meter high fort built out of computers and aluminum foil in the center of a barren living room.

“Dude! Check this out! It’s AWESOME!” my friend says from inside.

On a dated laptop running what looked to be Windows 98, he pulled up a YouTube video and demanded that I give it my full attention while he went back to installing Linux on a nearby netbook.

The video showed a man in his thirties, with long blond hair making painful high pitch screams while looking at the camera, over and over again until he lost his voice. Another man in the video would call out to him: “You gotta open up more!”

“That’s WINTERSUN,” interjected my friend, “True Finnish Metal.”

For various reasons, I didn’t take my friend or the video seriously. To me, it just looked like a group of friends that were allowed to get drunk during the day, and didn’t have neighbors that complained about sound.

But for some reason, I still went home and looked them up. It wasn’t long before I realized that Wintersun was much more than a well-respected band in the metal community. They were leaders of a musically-driven and benevolent post-human cult.

Disclaimer: Even though I’ve listened to both Time I and their self-titled album, there is a significant part of me that doesn’t feel ready or worthy to write about Wintersun. This is the  part of me that feels that Wintersun’s message, style, and movement is primarily based around the history and folklore of Finland. Afraid that I might dishonor the proud nation with my ignorance of worldly affairs, I’m hesitant to even attempt to comment on something so far beyond my grasp of understanding.

Fuck it. I’m going to anyway. It was sick as fuck.

Varg

On the verge of pneumonia, I waited outside for about an hour, desperately holding my camera bag under my chest to save it from the pouring rain, while texting fellow TOTD writer Jordan Itkowitz with my growing anxiety about missing the first set due to an excruciatingly slow-moving line.

Stepping into the venue was a bit like stepping into a pagan church, in the sense that everyone was covered in hair, and that each attendee seemed to be reminiscent of their own unique mythical creature that “came from the earth.”

Despite the problems with the mismanaged queue, I made it while Varg still had three songs to go. It was plenty of time to get slammed by the awesomeness of the ever-present bass drums (which sparingly dropped to a speed slower than persistent 1/8 notes) and high pitched folk melodies.

When I looked up to see the members decked out in fear mongering make-up and face paint, I couldn’t help but think that they were playing the theme song to a viking warship.

The crowd was greatly impressed by the set and was completely engaged in the testosterone-infused anthems of assault. Even though it was still early, and the average alcohol intake was only one drink, the fire of the crowd quickly escalated to a dangerous level of anarchy, eventually ended by a carefully planned series of anti-crowdsurfing security tackles.

Near the end of their set, lead singer and Guitarist Freki, still covered in blood, addressed the audience with a short speech. Amongst a handful of tidbits related to his gratitude, he let us know that the name Varg meant “wolf” in their native language. With that, he let out an aggressive to demonstrate his deep connection with the earth-shattering power of the wolf’s cry… when he is about to make a kill.

Wintersun

Seeing Jari for the first time was a nothing less than a genuine experience. His posture and facial expressions showed one thing very clearly: he had surpassed his goals, and his tribe was here to congratulate him.

Everyone has heard the controversy surrounding Time I. Too many synths, too much filler, not enough tracks, etc. However, in seeing the performance in person, I realized that the primary error of the critics was that they were listening to the music in the wrong context.

The composition of Time I isn’t designed for people who want background music while chatting on Facebook, nor is it made for music academics who wish to pontificate about whether or not a particular measure is an appropriate time to transition to a 3/4 time signature. This music is actually military-grade group hypnosis designed to summon the spirits within us to march forward towards… some place in Finland.

Did the new symphonic elements make it sound a lot like a Final Fantasy concert? Not at all. The pre-rendered electronic tracks were significantly overshadowed by the vocals, drums, and guitar. In contrast to one of Nobuo Uematsu’s live orchestral performances, the symphonic elements actually played a very minor role.

From the moment soundcheck started, to 5 minutes after the team left the stage, the crowd was insane. It was as if their savior had risen from death, and was guiding them towards a suicidal, yet meaningful march against an invincible yet tyrannical dictatorship. Fortunately, I was not scared, for I was one of them. As I heard Jari yell the keywords of every verse  at the top of his lungs (“sons,” “winter,” “time”), I cheered along and watched in envy as he paid no heed to the fact that the heat was causing his perfectly brushed hair to burst into a chaotic array of golden split ends.

With the exception of the pornographically sexy guitar solo in Winter Madness, the audience sang along throughout the entire production.

Eluveitie

As soon as I saw the various instruments laid about the stage, I became immediately frustrated by the incompetency of Eluveitie’s marketing team.

With flutes, crude string instruments, and a hurdy gurdy, this band is a textbook example of a fool-proof panty dropper. It’s artistic. They have instruments that are so underground that no one has ever heard of them. There are cute girls in the band. Their songs resemble the Titanic soundtrack. They promote a culture that will build a statue in your name if you can drink everyone in your home town under the table. The singer is wearing tribal jewelry. With all these elements in play, is there any excuse for a 90% male audience?

As represented by the fact that Google searches for the group primarily return Lord of the Rings fan fiction, and debates about the “true relationship” between Tolkien and C.S. Lewis , it is clear that Eluveitie is detrimentally under-promoted in America.

If you are a fan of the band, and want to see more of this type of music in your area, it is imperative that you get engaged with them on Facebook, or any preferred social media channel, to help spread their message to new fans. Until shows in the classical style of European folk metal receive more grassroots promotion, it is a realistic assumption that they will soon become more extinct than the Visual Kei style of J-Rock.

As expected, the presentation of Eluveitie was truly badass. Aside from the vocalist, who generally stood with his legs planted in a pre-cartwheel lunge, his abdominal muscles as upright and firm as a 19-year-old headliner at a Deathcore festival, every member of the band (violinist included) spent most of their time headbanging.

As they played through the full album of Helvetios, the members stood tall and confident while refraining from any of the artificially aggressive rock postures that are taught to kids when their moms buy them lessons from the drummer of Blink 182. During the rare occasions that the band members gave their neck muscles a rest, they would simply play their instruments with a smile, maintaining warm, appreciative eye contact with the crowd.

Thanks to the fact that I was able to have someone hold my camera, I was able to join the mosh pit for the second half of Eluveitie‘s set. While at first it was somewhat awkward to slam into sweaty men while listening to something that sounded like the soundtrack to The Bards Tale, I quickly got in touch with the backing metal riffs that enabled me to embrace the never ending wave of pain that increased with each collision. On the outskirts of the pit, one could see the single digit number of women performing irish jigs, in hopes of drawing their male partners’ attention away from the space-print tights that defined the curves of Meri’s hips.

In summary:

• Wintersun, Eluveitie, and Varg are all amazing live
• Wintersun is not too symphonic when they play in a concert setting
• Eluveitie makes girls dance
• Varg means “wolf” in German Norwegian/Swedish (thanks for the correction Shcokwave!)
• “Pagan Fest” shirts are totally in right now
• You should promote Folk Metal on your Facebook

See you guys again soon! \m/

Want more photos? Check out the full album on Facebook.