HISMAJESTY-TRAMA

EPISODE5 copywright 2007 HISMAJESTY/TRAMA

2007-11-06T12:55:00.000-06:00

EPISODE 5/part I
Features Interview with Impending Doom

CD Reviews of Between The Buried And Me, Impending Doom, As I Lay Dying, Zao, Maylene and the Sons of Disaster, Nodes of Ranvier, and The Warriors.

partII is forthcoming to celebrate our one year anniversary and will have many giveways from our very gracious record label friends. And will feature up and coming metal from Finland, to end the epsiode with "It is Finnished!"

Special Thanks to the labels who have supported us for this portion of the Episode:
http://www.metalblade.com/

http://www.asilaydying.com/

http://www.facedownrecords.com/

www.myspace.com/impending

http://www.ferretstyle.com/

http://www.victoryrecords.com/

Also thanks to Gerfried of Pesticides band of Germany for his guest commentary in his native German language.
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INTERVIEW 2, IMPENDING DOOM (U.S.A.)
HMT: So who is Impending Doom?IDOOM: Impending Doom is Brook Reeves, Manny Contreras, Greg Pewthers, David Sittig, Andy Hegg.

HMT: What is the purpose of the band?IDOOM: The purpose of Impending Doom is to bring praise to our lord and savior Jesus Christ and bringing his name to the masses.

HMT: Where does your inspiration come from?IDOOM: Our inspiration comes from God. But musicially comes from band such as: Nile, Cannibal Corpse, Devourment, Behemoth.

HMT: Your new album is close to it's release date, what is called and when can we expect it?IDOOM: The new album is titled "Nailed. Dead. Risen" released in stores september 4th 2007

HMT: Are there any singles from the disc that will get airplay?
IDOOM: There are a few radio stations that will be playing our album titled track Nailed Dead Risen

HMT: Is Impending Doom a christian band?IDOOM: We are a christian band before anything, we are a ministry to the people at our shows.

HMT: What are your thoughts on all the negative, dark imagery, lyrics that many death metal/black metal bands have? So who is Impending Doom and what are they about?
IDOOM: My thoughts on that are just that its evil, we take death metal music and christian lyrics together bring a christian death metal band

HMT: We know for some bands, it's a gimmic and a sales tactic, but what do you understand this to mean: 1 Thessalonians 5:21-23, specifically verse 22, "Avoid every kind of evil"?
IDOOM: None of this is a gimmic to get record sales, not at all! We do NOT and will NEVER do that.
HMT: Excellent, then you are the genuine article.

HMT: As far as touring, is your focus just the US are are there plans for ventures into Canada and Europe?
IDOOM: We are currently on tour with WhiteChapel and mychildren mybride. We are doing a afew u.s. Tours first followed by europe around may of 2008.

HMT: Is Impending Doom currently seeking endorsements, if so, what kind?
IDOOM: We will be sending out packs for endorcements very soon.

HMT: Facedown is your proud new record label, how did you come across the record deal with them?
IDOOM: Facedown persued us after hearing us from a friend eric gregson of xdeathstarx, jason loved it and we signed with them.

HMT: If you could jump on a tour for the new album, who would be the bands with whom you would want to share the stage?
IDOOM: I would love to tour with nile or behemoth

HMT: Life can be tough for anyone and everyone. When on the road, how does the band keep itself out of temptation's way?
IDOOM: _________

HMT: How does extensive touring wear on your stamina and mental capacities?
IDOOM: Sometimes you get annoyed of everyone but over all its a blast and we love it!

HMT: What do each of you do when not touring?
IDOOM: When not on tour we are all at working and hanging out.

HMT: Any final words for the readers of this all ages music review?
IDOOM: Yes, please check out our myspace for tour updates and news at www.myspace.com/impending
--davidoom
HMT: Thanks for your time and godspeed.

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CD Reviews:.

Band: Between The Buried And Me
Release: "Colors"
Label: Victory Records
Genre: typically outside our area of focus, but too good to pass up. The lyrical content is recommended for age 13+.

Eight tracks of rich warmth virtuosic character. "Colors" equals an unprecedented approach to metal, the musical dark horse, an all-encompassing sensory challenge, a neurological face-off, the gold-standard. Track one sugar coats the palate with a sweet reflection on Queen's "Bohemian Rhapsody" style piano and vocal stylings. Top it off with a lead in that only an apprentice of Brian May could pull off, and crescendo paced drumming that reflects Phil Collins/Genesis, and solid driving bass e.g. Billy Cox/Band of Gypsys, track two is really a continuation of this track - hence the run on sentence. Brutal blasting vocals rain down. Guitar and bass downtrodden pace, bring you up to the breakneck drum pacing. On occasion cautiously used arpeggios adds spice between the low-end change ups. Keyboard in this track infuse the song with a airy atmosphere, adds space as a trait, not as a filler. Bass guitar slides down the neck tempered with clean arpeggios sound just right. Just when you think you have the song figured out, BTBAM change it up again with an injection of jazz, and improvisational technique. There are sing along chorus lines that ice the cake. Track three resounds with the humming of an amp vibrating from one open string accompanied by the pounding Egyptian-like percussion a la NILE. I suppose a contemporary statement can be made that there is a Tool influence, but not for long. Almost symphonic in structure the song does not leave much room for dead airspace. There is constant movement and fierce vocal lashing on this. There is even a chorus-intro that last a few short seconds - long enough to address the Moody Blues-esque vocal arrangement. Not only do the pronounced bass lines have a string change up, but so do the drums, high/fast pedaled drums and cymbal clanging but also use of the full drum set (all toms, snare, all cymbals, double bass). I would love to see the making of, on this CD. It's one that I am very excited about and know any metal fan of any type will enjoy the full length, depth and breadth of this disc. Again, track four just turns off the unamped mics on drums into microphone amps into the mixing console. Fast, drum rolls all over the spectrum. This one brings to mind the first time I heard BTBAM, magma flows of heaviness and unrehearsed change ups. Post acoustic guitar segue, the drums just go off and then you are dropped on your ear for a funny sounding "la la la" bridge. Then bam, you are on tossed on the other ear as it's laden with intense cross-fretboard work and classical influences, id est Johann Sebastian Bach. I'm not saying I know exactly what their influences are, but I just call it like I hear it. Track 5, nice stride and pace, good memories of Metallica ("Kill 'em All", when they were metal), Cliff Burton-like bass, racing guitars, and small keyboard interlude that surfaces one of my favorite MET tunes, (Motorbreath or Orion). This is the metal version of Pachelbel's "Canon in D". Immediately into track 6, this is what I would call theme music. It has a resonant chord progression that is melodic and deep with bass guitar and matching drums. Also, there's a hint of Amorphis (Tales..disc), old school black/progressive metal. Downtuned change up with lots of china splashes and channel switching drum rolls. Guitars are a-typical hardcore, catchy, thick and unlike any other hardcore band. BTBAM is the RUSH of Metalcore, intrinsically intellectual, border-challenging, genre defying, catch you by the shirt music tinged with precision-driven musicianship. Accordions lay waste in this sucker, makes me smile, reminds me of the dreams I have of going to Paris on an extended vacation, eh! The vocal range holds no mercy, just raw talent and sirening screams. With the recurring theme of what I call black metal dust, the guitars and drums and bass soar to blaring new speeds - then only to descend into the slower tempos of life. Song seven introduces itself with clean tone, bluish-jazz harmonies and even tempoed bass lines walking alongside the high-hat taps. Lastly, track eight is the culmination of all this effort, a lathering of clean vocals singing in rounds, guitar tone ala Blue Oyster Cult's ("(Don't fear) The Reaper"). Somewhere in the song are vocal ranges with tones similar to Kansas & Yes morphed together, a classic rock era throwback ending in piano. Thanks to Victory for this disc, grab it while you can!
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Band: As I Lay Dying
Release: "an ocean between us"
Label: Metalblade Records

This audio engraving is infused with saw-like guitars, enveloping drum rolls, firm bass lines, and charismatic yet severe vocals. Lyrically, the words are articulate and the meanings are deep as the Grand Canyon. As I Lay Dying are the ever-desirable plethora of enigmatic meaning, unbridled energy, influential tone, the foundational powerhouse of metalcore.

When Pluto Record picked up AILD I knew they were onto something good, and so did they. With their first releases on Pluto, AILD gained world renown and then were discovered by the highly-reputable Metalblade Records. The Metalblade investment has paid off, yet again.
AILD as of this recording is comprised of:Tim Lambesis - vocalsJordan Mancino - drumsPhil Sgrosso - guitarNick Hipa - guitarJosh Gilbert - bass recording

CommentaryTrack 1-static feel of muscle-esque guitar duo, reminiscent of the classic Scorpions lineup of Rudolf Schenker and Matthias Jabs.

Track 2-a springboard from Metallica's "blackened", but only the first few seconds. Then after that is clean serrated guitars. Tim's voice is well laid out at just the right mixed in volume. Drums are well composed, not over or underplayed, nicely placed. In as much as there is a Metallica feel, there is also the vibe that calls to mind, In Flames circa Tokyo Showdown.-spiritual impact, the first climax of the Holy Scriptures, the arrival and the Christ child, his growth, his healing, and his saving power.

Track 3-A many splintered drum roll induced into neck breaking jolts of up beat tempos and fretwork. There seems to be an element or two of alternative metal in having the clean vocal choruses, but this is defined to be good use of the word - alternative. Minute marker 2.42 the musical bridge builds again into a heavy, stereo panned guitar and bass mix. -spiritual impact, a strong reckoning with the book of Ecclesiastes.

Track 4-Now here is a thrash attack for all the metal heads out there. This is the new Bay Area sound, it is sort of a rediscovery of sorts, from what Death Angel, Exodus, Testament, Metallica, and Megadeth brought up from the underground in the early 1980s. But this is a polished, thicker, meaner, tighter, relentless pounding of the eardrums. Arpeggios midway through are just the right touch, before the heaviness drops in again.-to me this speaks of John 3:16-18, specifically verse 17. "Therefore, there is now no condemnation for those who are in Christ Jesus," as penned by Paul.

Track 5-AILD have redefined themselves, yet again, a fuller sound to their song's introduction make this another welcome tune to reply in your memory bank. The drum work is fast, head-on, dead-on. AILD accomplishes what others try in clean vocalization, a captive audience, a drawing in and screaming out. One thing you will enjoy is the muted bass guitar, a blistering controlled hum in the mute section of the song.-spiritually speaking, to me, this describes the struggle of each believer not to deny the saving power of Jesus, the love he has for us, the fight against the flesh. A good summation of this is found in the book of Romans as penned by Paul, chapter eight.

Track 6-A static edge to what seems sharper than ever. Each new track brings with it the low end drag of metalcore and seamless genius of the Parris Mayhew (Cro-Mags). The drumming at times doubles as a third guitar in that every riff breakdown is mirrored in the percussion. -betrayal is one of the strongest themes in the Bible, yet not the strongest. We've all been betrayed, even by those closest to us, and we have done the same. So what do we do about it?

Track 7-For a temperamental song, this is arranged very well. Essentially the lyrics capture the emotions of Tim's yearning for change. Moreover the musicianship shines through with well-tuned guitar/bass/drum arrangements. -the spiritual quest for simplicity and freedom from vices and temporal gains, the book of Acts 20:24 However, I consider my life worth nothing to me, if only I may finish the race and complete the task the Lord Jesus has given me—the task of testifying to the gospel of God's grace.

Track 8-The riveting drums just stop the pulse, a strong delivery to match the other instruments. Both types of guitars nicely integrate with the drums and gently drag the thrashy tone in midway through the song. Solos accentuate the vim and restless attitude of this track. As always, Tim's vocals are rooted in stability as they lunge through the speakers.-perhaps are two layers here a spiritual battle (the daily struggles with problems, issues, the fighting of your own insides, the emotional eruptions that are unending), and the truth that is going on today in many parts of the world, many christians are being persecuted for their faith, even murdered. Mothers, fathers, children, orphans burned in buildings, left for dead, because they want to share the light and salt they have received. Things brings to mind the preachiness the world sees, we are not about beating you down to make you believe, we just care about you.

Track 9-The intro guitars bring to mind the uniqueness of AILD, a flare for almost renaissance era music type rhythms and leads. The vocal duos of scream along with clean chorus ring aloud. The bass guitar is concrete as it mirrors the pace of the guitar duo. Not only are there solo sections, but also true-to-the-core guitar rhythm sections that compliment the soloist work. Firmly played are the drums, with some drum runs on the higher end of the tom scales. Likewise the cymbals are in great standing.-spiritual impact, live the life.

Track 10-purely instrumental. Arpeggios fill the equalizer monitor and trill simultaneously. The accompaniment guitar work adds atmosphere as the airy-ness and whispers of emotion gently lay upon your brainwaves, a picture of war.

Track 11-I don't know whether to say shazam or wholly crap. Tim's vocals just run you right through with an ever-piercing fire. Guitars of all kinds, and drums barrage the listener with AILD Trademark of blizzard-like rhythmic punches, infused with high-velocity and listener-beware attitude.-spiritual impact, book called Ephesians, first part of chapter two, 'made alive in Christ.'

Track 12-Come in gather around, while I tell you a story of intrigue, mystery, and a love that no one fully understands. AILD culminates this disc with full AILD muscles flexed, guitars, bass, drums and vocal harpoons. Before you turn your ears on to this track, may I suggest a seating in an upright chair, strapping in with the five point racing harness, the best Bell helmet you can get your hands on, and an inch thick set of driving gloves. -the impact is that God's love through Christ is matchless, unmatchable, unfathomable, unending, forgiving, constant, forever the same-yesterday-today-tomorrow, come join us.

Thanks Metalblade for sharing this prized possession with us.
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Band: Impending Doom
Release: Nailed.Dead.Risen
Label: Facedown Records
This recording is a dry mix resembling similar mixes and trends in metal industry mixing and production, a move to a dryer mix such as Nile's "Ithyphallic" or August Burns Red "Messengers."

Thank goodness this is a new release that does not sound like nor resemble Job for a Cowboy. Don't get me wrong, that band is great at what they do (and I love them by the way), but too many copycats. This Impending Doom is unique and genuine.

A breath of fresh air in a stagnant dulling sense of metal music scene.

Track 2, Unearthly vocal strains, the fast clean sweeps of the guitars remind me of Jesse Pintado/Napalm Death. Unexpected guitar pinches add a delightful flare to what seems an overwhelming heavy song.

Track 3, A torrential down pouring of metal shrapnel and audio pillaging. the mammoth has landed and is taking your name, as well as your buddies beside you. Uncanny bass and brutally thick vocals.

Track 4,Does a good job at showcasing the bass guitar notes, another heavy as lead song.

Track 5, Quick paced neck stretcher for sure. The tone of the title track lends credence to the depth of being nailed. dead. and risen, an ultra-heavy experience. No glamour, no glitz, no lies, just the truth. The pick slides on the guitar add a change in the pace of the song in between what seem to be vocal fires. the Bridge section slows the song a little but just hooks the listener enough to stay tuned - while the last few seconds just pounce the darkness out.

Track 6, I remember the first time I heard Cannibal Corpse and thought "oh my goodness, and these are vocals..." Well scoot over Corpse, a new heavy weight has entered the ring and swiftly snatched the crown. Believe it or not there is a bass line that sounds like the hilarious comedy "Seinfeld", you know the little bass blurbs in between suspenseful scenes. I don't know how they do it, but the guitars are loose in unison, yet in lock side by side. I think it is the dryer mix down on the guitars. I would love to hear this song in a Marshall stack!

Track 7, Another catchy track. The channel switching performance is groovy and caustic. this brings back some of the energy that Slayer duo have brought to metal, except Impending Doom take it in another direction, North of Hell.

Track 8, If you put the guitars from Saint Vitus and downtuned a step or two (or three) you would have another classic Saint Vitus record. If you liked "Heavier Than Thou", double release from SST, you will love this track. A meshing of unlikely forms takes shape, doom, death, and grindcore well placed in the disc, a pleasant change of pace.

Track 9, This sounds like the younger, more aggressive brother band of HateEternal. If they were related, you will hear how. Probably the differentiating factor would be that you can hear the bass in this song, where as HateEternal songs are difficult to outline the bass.

Only thing I wish is that the mix had a tiny reduction in drums mix and a little more guitars and bass. Other than that wish - you have got yourself a new heavyweight champion. Ding ding ding.

Thanks Facedown Records for sending this to us!
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Impending Doom – „Nailed. Dead. Risen.“ (2007)
11 tracks – 34:43 min
Impending Doom ist eine relativ junge Band aus den USA, die mit „Nailed. Dead. Risen.“ ihr Debutalbum abliefert. Schon vor 1-2 Jahren sorgten die 5 Jungs auf myspace mit einigen Demo-Songs für Aufsehen und sind somit längst kein unbekannter Name mehr in der amerikanischen Metal-Szene.

Betrachtet man das Bandfoto auf der Rückseite der CD fallen sofort einige T-shirts, getragen von blutbespritzten Bandmitgliedern, ins Auge: unter anderem Suffocation und Cannibal Corpse, und im myspace-Profil sind unter der Rubrik „Einflüsse“ des Weiteren noch Kombos wie Nile und Aborted aufgelistet. Diese Einflüsse finden sich hundertprozentig in der Musik von Impending Doom wieder. Das Album beginnt sehr ruhig und besinnlich mit einem Gebet und Gewittergeräuschen im Hintergrund, aber gleich danach wird klar: hier wird ultra-brutaler, extrem schneller, sau technischer und sehr präzise rübergebrachter death metal der amerikanischen Machart mit zusätzlich einigen grindcore-Elementen praktiziert, und das Ganze noch mit einer Hammerproduktion und Sound. Auch rein optisch lässt das Werk keine Wünsche offen: das Cover überzeugt mit seiner düsteren und makaberen Atmosphäre, es zeigt eine Kathedrale, vor der sich menschliche Überreste häufen und aus denen eine in schwarz gehüllte Gestalt mit erhobenen Händen emporsteigt. Auch zu beachten: das krasse Logo, sehr gelungen, alles passt perfekt zur Musik.

Aber nun zur Musik selbst. Besonders das Schlagzeug kommt sehr kraftvoll zur Geltung, gekennzeichnet durch eine ausgezeichnete spielerische Vielfalt und Präzision. Sei es in pervers schnellen blast-beat Abschnitten oder langsameren mosh-Teilen, der Kerl leistet Top-Arbeit an den Kesseln.

Begleitet wird dieses wahnwitzige Spiel von zwei schreddernden und tiefer gestimmten Gitarren, die beide einen ultra-technischen highspeed Riff nach dem anderen runterbrettern, um irgendwann in einfachere stampfende Rhythmusteile überzugehen, was stark an Dying Fetus erinnert. Begleitet werden sie von einem Bass, der die ganzen rasanten Riffs im Hintergrund mitrumpelt und den Songs so den notwendigen Druck verleiht. Solis finden sich absolut keine auf dieser Platte, was aber absolut keinen Mangel darstellt. Ich fürchte sie hätten sich auf das brutale Ganze nur negativ ausgewirkt.

Die Gesangsleistung verdient besondere Beachtung. Hier gibt es hauptsächlich zwei Arten von Gesang, zum einen der normale aber sehr kraftvolle tiefe death-growl, und zum anderen der sehr unmenschliche pig-squeal (Schweine-Schrei), der sich sehr oft im grindcore-Bereich wieder finden lässt. Sehr krank, im positiven Sinn. Phänomenale Arbeit.

Nach 9 heftigsten Songs ohne wirkliche Verschnaufpausen bildet ein kurzer langsamer, sehr düsterer track den offiziellen Abschluss der CD. Hier stechen besonders die krassen Schreie im Hintergrund heraus, die sehr an die schwarzen Drachen in „Herr der Ringe“ (Nasghul) erinnern. Nach etwas mehr als 2,5 Minuten Stille folgt dann noch eine witzige Studiosession, in der der Sänger wild umherbrüllt und dann vom Produzenten gebeten wird, einen bestimmten Satz auf eine bestimmt Art und Weise auszusprechen. Beschreiben ist eigentlich sinnlos, hört selbst, sehr unterhaltsam.

Textlich hat Impending Doom auch einige Kuriositäten zu bieten. Sie reden nicht lang um den heißen Brei rum und bekennen ihren Glauben zu Jesus Christus ganz offen und ehrlich. Die Texte sind sehr vielfältig ausgefallen und handeln z.B. vom Verfall der Kirche, dem christlichen Sendungsbewusstsein, dem Sieg Gottes über den Teufel, dem Verlust nahe stehender Menschen, von Christen, die der Gesetzlichkeit verfallen sind usw.

Zusammenfassend kann man sagen, dass diese CD ein extrem starkes, hochqualitatives Debutalbum ist und mit Sicherheit jeden Liebhaber von derbster Musik begeistern wird. Fans von Gitarrensolis und Melodien sei hier somit besser abgeraten. Mit diesem Album ist die Band definitiv in die Liga der ganz großen im death metal aufgestiegen und kann sich problemlos mit „weltlichen“ Vertretern des Stils messen. Es bleibt nun abzuwarten, was Impending Doom zukünftig noch für heilige Brutalitätswerke auf die Menschheit loslässt.

Rough English:
Impending Doom is a relatively young American band that is releasing their debut album with “Nailed. Dead. Risen.”. They already caused for attention 1-2 years back when promoting some of their songs on myspace, and thus they’re no unknown band in the American metal scene anymore by far.
When looking at the bandpic on the back of the CD some T-shirts catch the eye instantly: Cannibal Corpse and Suffocation, amongst others, and in their myspace-profile there are bands like Nile, Aborted listed under “influences”. You can find those influences 100% in the music of Impending Doom. The album begins very quietly and consciously with a prayer and thunderstorm sounds in the background, but instantly afterwards it becomes clear: they make ultra brutal, extremely fast, really technical and precisely played death metal in the American way with some additional grindcore elements, and everything with a killer production and sound. The album also feeds all wishes optically: the cover convinces with its sinister and macabre atmosphere, it shows a cathedral and piles of human remains before it, out of which a figure shrouded in black arises with hands held up. Also note the crass logo, very well-done, everything fits the music perfectly.

But now about the music itself. Especially the drums come across with lots of power, with a remarkable playing diversity and precision. No matter if perversely fast blast-beat passages or slower mosh-parts, the guy does a top-job on the drums.

This insanity is accompanied by two shredding and down-tuned guitars, which thrash one ultra-technical highspeed riff after the other, in order to change into stomping rhythm-parts somewhen, which strongly reminds one of Dying Fetus. A bass, which rumbles all the speedy riffs along in the background, accompanies them and donates the necessary pressure to the songs. There are absolutely no solos on this album, but that’s no lack at all. I’m afraid they would just have damaged the brutal whole.

The vocal performance deserves special attention. There are mainly two types of vocals, the usual but powerful deep death metal growl and the very inhuman pig-squeal, which you can often find in the grindcore genre. Very sick, in a good way, phenomenal work.

A short slow, quite dark track creates the official end of the CD after 9 intense songs without any real pause for breathtaking. In that track the most remarkable thing are the extreme screams in the background, which remind a lot of the black dragons in “Lord of the Rings” (Nasghul). Then after 2 and a half minutes of silence comes a funny studio session in which the singer growls like mad and is asked to say a specific sentence in a specific way. It’s actually senseless to describe it, listen for yourself, very entertaining.

Lyrically Impending Doom have some curiosities too. They don’t talk around a lot and confess their faith in Jesus Christ very openly and honestly. The lyrics are very diverse and talk about the corruption of the church, the consciousness of being sent into the world which Christians have, God’s victory over Satan, the loss of close people, Christians who became legalistic etc.
Summing up you can say this is an extremely strong, high-quality debut album and it will surely please any lovers of brutal music, I wouldn’t recommend this to fans of melodies and solos. The band definitely advanced into the league of the biggest in death metal and can compete with the secular representatives of the style without any problems. Now we have to wait and see what other holy works of brutality Impending Doom will release upon mankind.
-=Gerfried/Germany/www.myspace.com/pesticidesband
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Band: Maylene and the sons of disaster
Release: "II"
Label: Ferret Music
Now this is what I call southern rock. The sound and genuine sense of pride shines through in this piece of rock. If you took the best of Mountain, Thin Lizzy, and Lynrd Skinned and added some punch to it - this is what you would have. In its entirety, in summation, "The Anthem of the South".

Track 1occasionally you hear the drum tip on the empty glass bottle (or at least it sounds like it), oh the simple days of coca-cola and nothing to do on the farm.

Track 2The band lays it all out, driving riff age, hard hitting drums, sing-along and strong vocal presence.

Track 3This one delivers the cowbell and the whole package. Clean cuts of guitars without allthe processing signals and overproduced guitar licks. The bass and drums attack with stop on a dime delivery and punchy drives into the chorus sections.

Track 4This brings back the soulful playing Sammy Hagar he had on his VOA album and song 1-2-3lockbox. Hyper fuzzy guitar tone and well defined drum tones. The bass guitar is present, but I would have hoped for a louder dryer mix of it. Needless to say, anotherhook in the ball cap.
Track 5Picture the Allan Brothers and Thirty-Eight Special swaying to low tuned guitars, bass, and one drummer (at the throne of it all). Here you have a fuzzy peachy sound that is awelcome change, a sweet-refreshing earful of joy. A mouthful of juice in a dry musical landscape, an shady oak tree under the hot Texas sun, nice work guys.

Track 6A younger Eric Clapton, a fiery Steve Ray Vaughan, and kidlike Ginger Baker, and more pronounced Jack Bruce, plus the American counterpart of Udo Dirkschneider - gently play this bluesy rock tune. No it's not the members of Cream nor SRV come back from the dead, nor special guest performance by the singer of Accept, but the contemporaries - the new breed of rock-n-roll.

Track 7Massive chop-chop riffage funnels this track into your rock-n-roll deprived earstream. It's alive, clean air, the smell of the salty sea, the breeze on the Mississippi, the pines of Alabama...

Track 8This is what I think Metallica wanted to accomplish with Load, Re-load and whatever else they wanted to call rock or metal. Pressing arpeggios, multi-layered drums, driving bass, burning sore throat vocal announcements - tie this piece in a nice red bow.

Track 9How can you forget Black sabbath, you can't. This would have served as the last track, a hidden track if you will, on the "Paranoid" disc by Black Sabbath. No high-tech stuff, just pure, pure, methodical southern rock with a sprinkling of spicy blues.

Track 10Swampy steel top ballad or sorts, acoustic break ins with electric featherings. Clean tone singing on this one and well pronounced bass guitar. Scattered across this song you hear the glass guitar slides and firing up of the drums, the small rumble into thegiant percussive roar.

Track 11It's a dreary, overcast day in the Louisiana swamp. The wooden porch and the moss hanging down casually cover the old man in his rocking chair from the fierce storm of emotion. This is not rock, this is the fluid shape of emotion taking shape to the airwaves. I think this song has standup bass on it and maybe a banjo - not certain. But if you want to stir things up inside, play this sucker. Otherwise, you may not be up for the emotional torrent. It is the survivor of the Civial War looking for the tombstones or resting places of his fallen comrades and previously known enemies - now realizing all were brothers.

Thanks Ferret!
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Band: Node of Ranvier
Release: Defined by Struggle
Label: Victory Records

Another win by Victory Records. Defined by Struggle is defined by classic hardcore style song arrangments, blended in metalcore roots, with a nice dose of thrash in the mix.
How shall we say it? Life can be beautiful, life can be ugly, and in the middle of it all is the Struggle to stay alive. At the onset you hear the roaring and screaming of a man in a struggle. The guitars are double geared to the thrash influence, bass locked in going head to head and drums pounding your heart out. A flurry of drums, clearly understood gritty verbal blasts, many hypersonic and nimble guitar sections. The thrash metal incfluence is hidden everywhere on this disc. The breakdowns are tossed in for grins and feature the metalcore staccato-syncopation in the guitars. The hyper-speed double bass is well placed and mirrors the rhythm section, while maintaining clear and timely snare smashing fits. Not to mention the bass guitar that is recognizable and actually driving some of the songs, which many metal/core type albums lack. Chop-chop guitar slides make this an emotional disc. Up and down the neck the listener is devoured. This causes a chain reaction on this disc between the drums and bass guitar therefore producing a spectrum of galloping momentum as heard in genre-defining Metallica's "Kill'em All" classic. An honestly shocking message. Wake up and crank it to YOUR core.

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Band: The Warriors
Release: Genuine Sense of Outrage
Label: Victory Records

If you gave Motorhead a high octane boost and took away a few decades, this is the band you would have. The Motorhead descendents. I'll put it this way, The Warriors have used all the best foundational elements of the legends such as Sick Of It All, Cro-Mags, Murphy's Law, The Misfits, and The Bruisers. An amazingly-monstrous work of art. Primo!

Track 1The Good thing about this song is that it immediately gets down to the nitty gritty vocals and thick/chunky guitars.

Track 2 Groovy guitar and low end bass sound just right with the splashing drumwork. Preach it man! Gang style vocals - just deliver that chill down the spine, like when you are getting ready for that plowing through the defensive line.

Track 3Quirky guitar interludes is fun to listen to. Lots of change ups in this song.

Track 4The drums are continuously present and well balanced with the bass guitar. The twin guitars sound rock-n-roll-ish then flip into high gear, like the addition of high octane to a steady fuelstream of fiery sounds. Not the mention the beloved Lemmy on guest vocals. Dude - what can I say, they could not have had a better metal legend representin'. This is your "Ace of Spades"

Track 5The title track meets the high standards set by the legends of hardcore, fast guitars, three-d drums, mirroring bass lines, the formlization of legitimate complaints. The voals are very strong especially in the diminuendo of the song... some static, screams, closing. Nice work.

Track 6Ominous overtones and backbreaking beats. If Rage Against the Machine were a hardcore band, this would be them. Seventy's rock flare riffage, standard bass standouts, punchy - splashy drums carry this well.

Track 7Strong bass lines are prominent in this song. Brings the same feel that Geddy Lee has when he plays live. Fast, apparent, up front, and tighter than a drum. Sling back, long hair sway banging on this one, "New Sun Rising" accompanied by the lovely backing vocals.

Track 8Put your head in a drum head and bang it around a bit. The riffage is thick as steak and heavy as lead, and mean as heck. This is an earthshaker, and I think along with track 4 are the defining moments for The Warriors. Their sound is peerless and unrivaled, a standout in the hardcore scene.

Track 9This is an open road song, plug it in, play, and let it ride. The heavy mutes add the punch needed for this hit, drums, bass, guitars in unison. Not to mention the ear-piercing solo dives in. Voice wise, the tone is thicker and tuning is lower.

Track 10A classic feel, resonant with Murphy's Law, Cro-Mags, and Sick Of It All. The descending strings associated with cracking, smashing, and crashing, not to mention the Harley Flannigan influence.

Track 11what can we say, hardcore out the rear! Check out the early bass rumblings. It's phat!!!
Track 12Bumping bass drums, then an interlude into heaviness. I would not say metalcore, but chugga chugga hardcore.

Track 13Ah yes, musn't forget the punk theme song. Speedy, choppy, and happy! Voila, a cheery end to what is a get up off your can and rock the heck out of your head disc. Did I hear Mr. Koller?

Great job with another Victory!
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Band: Zao
Release: The Fear That Keeps Us Here
Label: Ferret Music

Daniel Weyandt - Vocals Scott Mellinger - Guitar & Vocals Marty Lunn - Bass Jeff Gretz - Drums
no barriershave their own lunar landscape, untapped and most of it unseen or in this case unheard.

A few names come to mind in terms of the level of genius by which Zao have acheived, not by sound, but by the untainted audible indulgence:

Killing Joke
The Damned
The Exploited
The Famine

At first glance, I inserted the DVD to see the making. Recording studios are either a real intense-nerve racking place of judgement or an intensely relaxed environment for freeflow creativity... In the case of "The Fear That Keeps Us Here.", the apparant flow was easy-going. You get to see all the players in action, recording, conversing, screaming and cheering for the end of the Pittsburgh triumph game.

When I heard the disc the first time, I had to think for a moment - the sound is different. The texture was course, crude and taste was organic. This confirms the way in which recording took place, not a lot digital equipment if any. Consequently, you do not hear a doctored up square sounding piece of cardboard music. Many in the metal scene are now figuring out that all the digital editing can be harmful, instead of helpful in terms of sound production and quality. Too much digital editing can kill what would have been a phenomenal work of art. Beware you may need to reduce the bass level on your eq when playing. The disc has its cabinet-rattling fits of rage.

Track 1Cancer is one of the most despicable things mankind encounters. I personally hate it. It's a waste of life and energy, it ruins what it touches, it is hideous. Lyrically I am not able to comprehend the message, but just the mention of cancer brings with it the sorrowful melodies that introduce this track. Dark and desolate, Daniel set's ablaze the speakers with a caustic pounding of the senses.

Track 2From second 1 on this song is full of hooks and and truth. Not sure which hurts more, hooks or the truth. This song can be addressed not only to the technical physicians, but to those who think healing is within themselves. It is not. It comes from God. Lyrically it demands the confession from each of us, that we ought to treat others - how we wish to be treated. I suspect the woman with the issue of blood was treated by one of these at one point in her struggle for a healthy life. Scott's guitar serrates the senses as Daniel launches forth the firey spirit for which ZAO is known. Marty and Jeff pulverizing pulses of bass and drums are speedy, precise, and well complimentary of the vocals and guitar. The change-ups are many and predictable - but predictable in the sense that the listener is ready to bang away at just the right time.

Track 3 Now I do hear some resemblance to the famed song of long ago, The Eighties, but not the same. So what is music if you cannot pick out influences or familiarities - can be foul-tasting at best. Here it is comforting, unexpected from Daniel and team, yet a gratifying encounter.

Track 4A shaky and technically fidgety piece/introduction by Scott and Jeff. Marty's bass overrides the guitar - as he does not replace the guitar - just magnifies Scott and Daniel's lion-esque roars. Percussion work by Jeff is polished through the acoustic/analog recording - reminiscent of The Course of Empires work on "Minions".

Track 5so tell me, who is the Kingdom of Thieves? I'm not exactly sure but I'm for certain Daniel can point the way in a single stride of his lyrical rampage. The riffage takes me back to 1987 and The Exploited's "Death Before Dishonor", specifically Anti-UK song. Like pure cane sugar, ain't nothin' like it. The real deal. Marty and Jeff tag team this musical match and ride the fine line between a percussion led song and guitar driven song. You will hear the "US vs. Them" tone in the work, a fight for balance and dominance, the balance has been struck.

Track 6The commencement is breakneck. One track after the other, this album gets heavier and more disruptive in nature. The only drawback in this song I see is the solo, seems too structured for what I'm used to hearing from Mr. Mellinger. The live feel of this song is tremendous, especially the bridge sections. Marty and Jeff seem to bend along the last half of the song, as if Marty could bend the string on his drums while mirrored by Jeff's strong bass notes. The bends are not symmetrical nor can you forecast how they'll turn out.

Track 8Ominous heavy doom sound. It is not done with much palm muting from, Scott. Marty's bass slides nearing the song's end are "JAWS" image-inducing, specifically monstrous.
Track 10 This one sounds like spiders running up the web. Creep crawly is what I would call this one, but it's fast and full of hybrid blasts of guitar, bass, and drums.

Welcome to Z-End.

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2007-09-07T13:28:00.000-05:00

EPISODE 4, AUGUST 2007 © 2007 HISMAJESTY/TRAMA

2007-08-23T07:21:00.000-05:00

Welcome. We gladly present to you Episode4, featuring an Interview with Crimson Moonlight's Gustav, CD reviews of Protest "The Truth Enslaves Us", Imperial "We Sail At Down", free legal music downloads by various Bombworks Records bands and Ugly Records.

Plus our first TRAMAtic Contest, we are proud to partner with Facedown Records in a CD giveaway of Impending Doom's new release "Nailed. Dead. Risen." See below for details.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Interview//Crimson Moonlight's Gustav (unhuman-like drummer):

1) Good Day Gustav. Tell us your background in music and how you became the drummer for Crimson Moonlight.

Gustav>>> Hi, hmm I was raised in a music family with my mother singing and my father playing different instruments such as piano, guitar, trumpet etc. I started in a music-school with drums but it was pretty boring so after 3-4 years I left the school. And my first real interest in drumming started when me and some friends started to play different metal songs by Metallica, Sepultura and more. It wasn’t any good quality but we had a couple of gigs and I was getting more and more into extreme drumming. About the story of Crimson Moonlight: It all started when my second band “Disembowel Satan” was breaking up, and I wanted to come in a new band. I knew Petter Stenmarker (now Edin), Simon Rose´n and Alexander Orest from before and when we all meet the summer of -97 I asked them if they wanted to join a band together with me. They where all very positive, but from the beginning CM was not very serious. We decided just to play 1 show and record a lousy demotape and then brake up. But it was far more appreciated than we ever expected so we decided to continue…

2) What is the passion for Crimson Moonlight?

What does Crimson Moonlight hope to accomplish with their music?

Gustav>>> This is a question that has a pending answer, but our goal is to play music that people are getting touch by, both musically and lyrically. The passion is also to develop and grow as persons in the band and of course as musicians.

3) Since you are the drummer for such a unique and ultra heavy band as Crimson Moonlight, where do you get inspiration for such technically bound and driven drum tracks?

Gustav>>> I use to have pretty much ideas of what kind of drums that is fitting a certain part in a song, and I want to have my own style when playing the drums. I listen to different music and also trying to get inspired. But the other guys in the band use to have some ideas too if they have written a certain guitar riff. My goal of drumming is too have fun and develop as musician.

4) On Crimson Moonlight's "Veil of Remembrance" the musicianship is outstanding, and very few groups could come close to rivaling such quality. Let me ask you, how did you record such a clean sound and play so fast on the record?

I have never heard such lightning fast drumming and precision.

Is there special tuning you use?

Gustav>>> Thanks! About the recording: Everything went very fast. I recorded 7 tracks the first day and 2 songs the day after so everything was going very smoothly in the studio. We had rehearsed the songs pretty much so it wasn’t any problems. About the sound: We worked with an old friend of mine (Plec) that also produced the covenant Progress. He asked us what kind of sound we wanted and our answer was: like a tank smashing everything in its way. The drum sound was acoustic and then we sat at the mixing table and turning the wheels as much as we could haha.

5) I know in July your new EP came out on End Time Productions (Sweden), what can fans and curious music fans expect from the new Crimson Moonlight songs?

Gustav>>> Hmm the songs of this recording is a little bit different compared to Veil.. but not that much. It’s still brutal and maybe some more death metal to it. We have also re-arranged the song “Alone in silence” from our very first demo. So for the Antestor fans out there – this is a song for you!

6) About your style - are you self-taught or have you received formal training?

Gustav>>> When I get this question my normal answer is self-taught. As I said before: I have been on a school when I was young, but finding the way in double bass drums and blast beat is all my own practicing.

7) What is your drum set up like - can you send us a picture or drawing to show us [featured image at top of this post]?

Gustav>>> The setup is depending in what band I play but in Crimson I have 2 * 22 bass drums, 8”, 10”, 12” hanging toms, 14” floor tom, 13” snare drum, and of course Sabian cymbals, Pearl equipment, Remo skins, and vic firth sticks. This is a picture from the Ep recording last year.

8) As far as your occupation, is Crimson Moonlight a full-time job for each member of the band? If it is not, what do you do for a living?

Gustav>>> Crimson is not a fulltime job for anyone in the band (unfortunately) This is still a small music style. Besides playing drums I study at the university to become a teacher in school. Per is a personal assistant and Johan is working in a post office, Pilgrim is studying theology, and our new guitarist Joakim are just about to start studying.

9) As far as your live shows, what is the red paint on each of you - what does it represent?

Gustav>>> We have theatre blood on stage and it’s a symbol of our band name, When the big day comes the moon will change to the crimson colour.

10) When playing or recording, do you use any electronic tools or equipment as a drum machine, triggers, programmed percussion, sampling?

Gustav>>> On the last recording the producer wanted to have trigger microphones to pick up the signal on each drum. But other than that, this was the first time. Nowadays I have a DDrum module and triggers on my bass drums when playing live. This is very good and one of my smartest buying. You can hear each hit of the bass drum but at the same time this is one reason why some drummers don’t like it. It’s more pressure on the drummer because you hear every single hit, and since I bought the triggers I have been faster and more precise in my playing.

11) and do you play in any other bands?

Gustav>>> I play drums and write all the lyrics in Exhale (death/grindcore, http://www.exhaleswe.com/) and I also play drums in a rock band that will be called Saffire. Besides this I write some own music and I also have some other Deathmetal projects.

12) How does Crimson Moonlight distinguish themselves from other bands - although many are good - how did Crimson Moonlight come to accomplish such a captivating sound?

Gustav>>> We have always wanted to do “our” music that we like and that makes us grow as a band. But at the same time I think it is really hard to not get compared to other bands in the scene. Pilgrim maybe gives us a little more space and originality as a front person with his swords and mask etc.

13) Does Crimson Moonlight have any plans on travelling outside of Scandinavia this year?

Gustav>>> Yes we are going to play at Cornerstone outside Chicago, and later also in Holland at the Flevo festival

14) Have you considered traveling yourself to do drum clinics? I think you should come to TEXAS! Seriously.

Gustav>>> Actually I have been offered to do some clinics/seminars at a music school but I don´t know. Texas…I’m not so often in Texas but if the opportunity comes maybe I can show some blast beat and double bass ha ha!

15) Do you have any tips or advise for aspiring musicians?

Gustav>>> My tips for drummers: try to play different music styles and practice. Do it together with others and by yourself and use a metronome to get tight. There are no shortcuts, but you get results pretty fast if you play the drums 30 min a day. Always try to have fun when playing and do not compare yourself with other drummers. Everybody has their own style and I think your own style is important to develop instead of copycat someone else.

16) What is your lifetime goal?

Gustav>>> Hard question with too many answers but I try respect every other person that I meet, and I try to have a heart full with love.

17) What steps are you taking to achieve your goal?

Gustav>>> Pass

18) Is Crimson Moonlight a christian band?

Gustav>>> Crimson Moonlight is a Christian band, but at the same time 5 individuals that have different views on life. We are in some ways against religion, and do not swallow everything that are said in a church. This is a big discussion that is easier too have in person, but we all have some sort of faith that is shown in different ways. And everybody in the band has different experiences of the church. That’s why it is hard too say that we are a Christian band, because it depends on what you put in the statement Christian.

19) For those interested in listening to/checking out your music, is there a site or link readers can go to to listen to Crimson Moonlight?

Gustav>>> Yes you can visit http://www.crimsonmoonlight.com/ or our myspace www.myspace.com/officialcrimsonmoonlight

20) Do you have any parting words for readers?

Gustav>>> Thanks for support through the years, and be more than welcome to our shows, we need you! /Gustav

Thank you very much for your time and interest in supporting
HisMajesty & TransAtlanticMetalAlliance.

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TRAMAtic Contest/CD Giveaway

The first contestant to Answer the two following questions correctly and you'll be the winner. Just send me an email with the answers and we'll get you set up.

Questions:
1) who sinned first?
2) what is Impending Doom's unique style/genre of music called?
Send Answers to hismajesty_trama@sbcglobal.net

Thanks to Facedown Records for the support! www.FACEDOWNRECORDS.com

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CD Reviews:
We want introduce this section of Episode 4 for CD reviews; where we review discs and give you honest feedback you can use.

CD Review Rating System:
7 strings - one of a kind, a favorite amongst hundreds
6 strings - intensely strong recording, continuous replay
5 strings - magnetic songs that squeeze the ear drums
4 strings - good overall soundif it's not good, we won't review it!

Protest
Dallas, Texas, USA
http://www.protestband.com/
"The Truth Enslaves Us"

Unlike most of the reviews, we have one from outside the christian realm we cover. The age range I would think can listen, 13 and over, PG-13.

This CD is just the right size for intense thrash/straight up metal. Each song is individualized by it's caustic vocals, eardrum numbing percussion and blistery riffs, runs and chord progressions. Among the highlights of the EP are Blood and Sand, and Killian. You can hear certain influences in the sound, so no need to throw names around, these guys deserve their own names in here... Chance Lehman (bass), Jason Burris (vocals), Jason French (guitar), Ronnie Sterling (guitar), and Jimmy Tabor (drums).

blood and sand - the first time I heard this song was visiting the protest website, it was their showcase video of highly energetic live footage. On the official recording Ronnie on rhythm guitar introduces the song with blaring speed of sound and riffage. Jason and Jimmy do a nice job of jumping in after the introduction and deliver the message of what I would consider Texas size metal; the message of "here it is,and take it!" Chance's bass adds the low end texture and sound that melds well with Jason's shrapnel beating and tongue lashing. If this were the 60s, Jason would be on a documentary of historical protests.

killian - this one leaves hook marks. Jason takes the listener into the lowerrange of his vocals. Jimmy's bass drum pedals keeps your mindspace occupied and captivated as Ronnie and Jason take the serious road in muted grinding rhythms that NYC hardcore masters would stage dive to.
CD Rating 5.7 strings

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Imperial
Pluto Records
http://www.plutorecords.com/

"We Sail At Dawn"
This approach to the CD review is different than my usual style, it will be more of a cliffs notes version, an abstract, a synopsis of sorts.

last sunrise- great teaming dual vocalists soundcatchy change ups-some of the guitar work is reminiscent of Geordie of Killing Joke and Bill Steer of Carcass. If you would like a heavy handed The Juliana Theory, then you will like this track

remember hell-captivating-raw yet clean edge to the track-the drumming reminds of of the drumwork on the Freaks release by Rigor Mortis (best release by RM)

the painter-broad chording/barre chord sounds are lined with melodies-the strings are well done, with a "rondo" influence, where the guitars are chasing each other, but stop at the same time and pick up again at the same instant-the left channel guitar infuses emotion by the notes he plays, melodic yet emotionally eruptive; let's not detract from the solid performance in the right channel

with blood comes cleansing-alternating channel guitar riffing intro reminds me of Exodus' Gary Holt-middle of the song like unto Mike Patton with vocals and guitar crafting echoing Jim Martin, both of Faith No More

In ashes I leave-string skipping adds a new layer of sound that many metalcore bands don't use, which is refreshing.

Drinking wine...-good piano introduction into the harmonies section-produces an erie feel like in the 70s' when The Eagles recorded Hotel California

Allura-this is a piano song-entails classical/symphonic high end piano notes-brings to mind the romantic tragedy of "Romeo and Juliet"

In Ashes I leave-this is a picker upper of sorts-long lasting bass notes add weight to the song, nice melodic vocals

CD Rating 6.2 strings
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Review of Episode 4 songs that have been graciously provided by bands and the labels.

Bombworks Records presents:::...Lo-Ruhamah, Angel7, HopeHasFailedUs, Comment Yet Forbidden, Dagon, and Holy Blood

Lo-Ruhamah
"The Birthright of Cain"
-quaint and melodic introduction
-the blurry black metal scream descends as the distorted guitar and bass lay into the track
-the feel of the song in general reminds me of RUSH "Fly By Night" era
-2.28 into the song, the music depicts a sorrowful reunion between melody and downtrodden
escape
-three piece band, all instruments are in equal doses without an overplaying or burden of
too much of one kind of sound
-6.00 minutes into the song the diminuendo arrives, with a blistering guitar riff/solo type
arrangement, to add the drums pound out the end of the song to a marching offset by
approximately 1/2 second

>>>>"As we Walk"
-as this work commences, the music is temperamental
-if Lord of the Rings movie series were a metal movie, this would be the sound track and
resounding theme for the movies
-in classical terms this would be the Andante movement, a walking song
-an intelligent design in song, the Black Renassaince Metal band

Holy Blood
"Vesna"
-Holy Blood is what I would call this unique blend of folk, metal, and black sounding
ambience
- Cyrillic Metal, native only to the former Russian states and Russian Republic
-from what I understand about this song it depicts the onset of the Spring season
-and for the believer, this means the constant forgiveness of sins, and at first most
importantly the salvation from God through the Holy Blood of Jesus Christ.

>>>>"WellTriedFaith"
-I love the vocals on this song
-they are almost a capella choir
-esque in presentation, but in the range of baritone and
bass singers
-again we have keys and the flute, but used with discretion and finesse
-the guitar work and drumming carry themselves as syphonic pieces outside the national music
hall
-the bass guitar serves as an accompaniment intrument, not so much as a rhythm guitar

Common Yet Forbidden
"Lake of Fire, Wake of Souls"
-I would describe this song as producing a hypersonic hook implanting feel.
-the tone of the guitars sounds early 80s thrash but arranged around a futuristic
black/technical death metal sound
-the vocals scream the truth of the Second Death, the lake of fire and brimstone, the smell
of sulfur, the truth many in power don't want you to know, that the only way of escape from
this Lake of Fire
- is indeed the Commen Yet Forbidden name of Jesus Christ
-His name is not to be taken lightly, for it carries the sin of the world and seeks the soul
to save from a burning un-ending hell

HopeHasFailedUs
"cutthroat"
-this is a short brutal thrashy piece of work
-clocking in at barely 1minute 43seconds the song plays long enough to embed it's chorus
into your long term memory

The Famine
"Fading Glory"
-this three piece machine is unstoppable and unquenchable
-riding the fine line between noise and vehement orchestration the guitar, bass, and drums
just drill the highly
-spirited rhythms into the mental registrar
-Mark Garza creates the phenominal sounscape and bounds with his percussive work
-Andrew Godwin carefully engages his guitar to consume the empty space of air-noise while
doing double duty the bass guitar
-Godwin uses slides very well on the bass guitar from high to low notes
-Kris McKaddon's vocal upheaval gives hope to the new generation of metal, a standout
blister inducing ear drum shattering roars

Angel7
"new heaven above the new land"
-the first minute or so the notes appear vapory and airy
-then you hear the seriousness of the orchestra pings while the flute
-sounds like the battle for Har Megiddo
-the second minute lights up with what is resembling the highly used and influential
balalaika playing an introductory solo
-the keyboards add a good feel to the song and carry on the tune of the song without
detracting from the overall aggression
-should I attempt to describe and applaud this effort, I will be tempted to cal it Black
Cyrillic Metal
-vocal delivery gives you the feeling of hungering for the meat of The Word, the fight for
victory, the claim of victory

Dagon
"PirateHunter"
-This song is a good metal thrash song, blarring fast drums
-guitars present a good feel and rhythm

Ugly Records presents:::...Space In Your Face
Space In Your Face
"Elements Essentials"
-nice metal song-clean strong vocals, cross between Tim The Ripper Owens and Bruce Dickinson
-guitars are tight and highly in tune with the bass guitar
-unusually unique, original and top notch
-best metal out of France in many years

>>>>"Prier Le Ciel"
-prayer unto Heaven, nice title
-you hear some electro rhythms in the back that make you want boogie down
-you can possibly hear some Korn influence, but more so, influence of psychadelic band as
Pink Floyd (with left channel guitar)
-the bass guitar is punchy and aggressive, something you can actually hear
-the interlude of the song is gothic/industrial feel like Ministry's "Burning Inside",
almost the sense of a london fog horn alerting oncoming metal
-the drums are tighter than a tight-wire and extremely precise

Be sure to download the songs, located on right side of page. They will only be available a few weeks.

Stay tuned and thanks for reading.
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NOW ACCEPTING CD/DEMOS FOR REVIEW

2007-07-20T12:51:00.000-05:00

HIS MAJESTY//TRANSATLANTIC METAL ALLIANCE//TRAMA

...is now accepting CDs and Demos for review.

...if your band or label is interested email us for more details and mailing address

...email address: hismajesty_trama@sbcglobal.net

...note: CDs will not be returned

2007-06-05T20:25:00.000-05:00

First, go to the right on FREE DOWNLOADS and download the zip file with Episode 3. Feel free to forward this on. The more - the better.
__________________________
widows&orphans
Review:
First we must say this is what we would call intelligent rock. This is what alternative music used to be, intelligent and unyielding. Widows&orphans have accomplished just that. Emotion is the theme in this song, from the instrumentation to the lyrics and vocal styles. Not to be confused with the all to-frequently used “EMO” label. The lyrics bring to mind the prophetic and true end to come, as referenced in Matthew 10:22-24. Also, Revelation 19:11-21 seems to be referenced here, the Rider on the white horse, the longing for the return of our King, Jesus. Yes he is real, and we apologize for the pollution our people have caused the world. Imperfection is an understatement, yet our Lord is perfection made flesh. Of course we cannot speak for the band, but this is what the song says to us. Now purely from a musical standpoint – there is much to be said. Panning guitars with string picking is subtle and yet overcoming.

Sometimes words just cannot describe a song – this is one you will need to hear for yourself. We are so glad we got in touch with Doll House Recordings for this one. Thanks Z!

TRAMA Locale: Austin, Texas, USA
Song: We Are All Exiles
Label/Distr.: ©2007 Doll House Recordings
Release: Everything is Gold
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Savaot
Review:
I am pleased t o present to you some of t he best metal I have ever heard. From the war torn country lies the remnants of a fiery metal band that has yet to reach its full potential. Before you listen to this song, isolate yourself in a room with just the song playing. Here you will hear the story of Salvation . The introduction is almost acoustic in tone, ethnic in sound, and a fusion of southeastern European flavors and middle east rhythms.

This song tells us the true story of the birth of Jesus, of which the impact is recorded in 4 separate sources by 4 different authors. In the bible this story is account ed by Matthew, Mark, Luke and some of John. The solos are light speed and bring to mind the energy Megadeth had in the early 1990s. Chopi thanks for sharing the band’s music with us.

TRAMA Locale: Skopje, Macedonia
Song: Salvation
Label/Distr.: ©Savaot
Release: Demo 1998-1999
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World To Ashes
Review:
World To Ashes have begun where Prayer For Cleansing left off several years ago, with the energy, drive and somewhat nonstop riffing reminiscent of Vivaldi’s classical works that involve
intense string sections and bridges. Certain arpeggio guitar sections remind us of the dynamic guitar duo of Iron Maiden in the early years (their earlier albums), clean cuts. This is
especially true at the 3.00 minute marker. Peter, in his book 1 Peter 5:4 says when our Shepherd arrives we will receive a crown. Yes, we are part of God’s kingdom. Also, when life
turns for the worse, John the writer of Revelation (2.9-11) explains that even through the worst of times, God will give the believer a crown of life, what World To Ashes refer to as “Crown
of Victory.” VICTORY IS AT HAND!

TRAMA Locale: Ehrenkirchen, Germany
Song: Crown of Victory
Label/Distr.: ©World To Ashes, WhirlWind Records (DE)
Release: Demo
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Opposition Of One
Review:
In his promise…
Opposition Of One have their own unscathed niche of hardcore music, that ever narrow path of intensely brutal full force sound. Just the right mix of guitars, drums, and vocals all provide the sonic boom for this audible experience. God will never leave nor forsake his believers.

Everything is a promise in the bible. You can count on him... if it's anything you remember from this song, just remember you can count on God, you can count on his Son, Jesus, and the Holy Spirit (God's spirit). For over 2000 years the world is still trying to figure out how God's Word is to bring all believers together...but we trust this will be true. The Gang style vocals mesh well with the total-inlock step of the band's musicianship.

Temptation…
“I have a father, he knows my limitations...”, is there anything better than that, a GOD who knows you? I am so pleased to present OOO to you. They are free of the cookie cutter sound, free of any "hardcore" pre-fab sound. Total domination from the onset of riff, bass line, cymbal crash and shout. One minute 34 seconds into the song, the riffage depicts and embodies that we through Christ are more than conquerors. Romans 8:28-39 is the spiritual impact for us. Nothing can stop the love of God through Christ.

TRAMA Locale: STUTTGART, Germany
Songs: In his promise, Temptation
Label/Distr.: ©Opposition Of One, GuideLine Records (DE)
Release: In the Line of Change
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HISMAJESTY-TRAMA

EPISODE5 copywright 2007 HISMAJESTY/TRAMA

EPISODE 4, AUGUST 2007 © 2007 HISMAJESTY/TRAMA

NOW ACCEPTING CD/DEMOS FOR REVIEW

EPISODE 3, JUNE 2007 © 2007 HISMAJESTY/TRAMA