Posted on Tuesday, October 31st, 2006 @ 12:15 pm 
87 years from now, some wise sage just may point out that, Four score and seven years ago, our fathers brought forth onto all continents shredding instrumental metal, conceived in three-guitar harmony, and dedicated to the proposition that all men are not created equal Because, you see, is a special breed of band. A breed of band whose shredding instrumental metal demands the creation of catchphrases such as I see your Gretzky is as big as mine.
(which, unsurprisingly, works just as well, if not better, with their self-released Swayze EP) as much as it demands respect, admiration, and the proverbial throwing of the horns .
Yes, the time of Gretzky , the all-too-long-awaited -released debut full-length from Electro Quarterstaff, is finally upon us - bringing with it eight tracks and more than 50 minutes of unrepentantly sweaty and vocal-free heavy metal. As stated in the booklet: This is an uncircumcised recording.
As stated by the label: One of the greatest instrumental metal albums of all time. As stated by me: An album so man-esque, even your lady-friends will grow a pair upon experiencing the brute man-ishness of its testosterone-fueled manhood. For with Gretzky , Electro Quarterstaff proves that all you need are three guitars, drums, and approximately six hundred and sixty-six riffs per track - only a scarce few of which are appropriated from 1986 - 1988 era Metallica or prime Thin Lizzy.
Sure, an insanely impeccable recording meatier than the rack of ribs that tips over the car during The Flintstones intro doesn t hurt. Nor does the bizarre yet awesome artwork. And Canadian bloodlines may or may not be mandatory for the equation to complete itself, I m not sure
But whatever the case, it s true: This is one of the greatest instrumental metal albums of all time.
Therefore, I refuse to further dishonor their supremacy with such pedestrian gibberish. It s time to rock:
Some bands call themselves thinking man s metal . Well, sorry ladies, but this is manly man s metal .
This is Chuck Norris beard metal . And I fucking love it. You know what I m sayin ?
These dudes are supreme badasses of the highest order, and any self-respecting disciple of the riff owes it to themselves, and to the sheer might of the band, to purchase this record:
Posted on Monday, October 30th, 2006 @ 1:12 pm 
This is the long overdue Asian and American release of Chapitre 2: Reverence , the second full-length and third overall recording from - one of the most badass French metalcore acts out there, and without a doubt one of the most unnecessarily obscure and underrated European metalcore bands of all time - at least in terms of their presence here in the US. This shit came out a year-and-a-half ago in Europe, and would ve cost something like $35 to get straight from the band via some kind of fucked up bank transfer or something (believe me, I looked into it), and their first two records remain practically impossible to find. I m so damn psyched to finally own this album!
L Esprit du Clan s style is a violently brutal and ultra slick Merauder meets early Machine Head (but better, in the case of the latter) sort of thing, with a sick dual vocal onslaught delivered entirely in French - and in my opinion the overall tone and delivery totally communicate the bitterness of their message even if you don t speak a lick of French. It s much more metal than metalcore at this point (and remember - we re talking about the form of crushing 90 s metallic hardcore that was king when this band formed in 1995), with plenty of chugging modern thrash and scorching lead breaks with just the right presence of occasional melody. And the fucking huge sounding production with a perfectly balanced mix?
Shit, that s certainly not hurting anyone, you know? This shit sounds totally golden, it s just insane. On this particular edition you ll also get two bonus tracks from the Chapitre 1 CD, as well as two CD-Rom videos.
You can t lose, man. It s 55+ minutes of complete annihilation, and I m lovin every damn second of it. Awesome.
Buy this shit. L Esprit du Clan rules. God s Child Music rules.
Please support their efforts so that they, and other labels, will continue to take chances on these types of projects:
Posted on Friday, October 27th, 2006 @ 9:03 am 
Boasting some of the most unique vocals and lyrics of their day over winding rhythmic pulses and intricate time signatures driven by a completely badass rhythm section made up of slick as fuck fretless bass runs and jazzy percussive textures, Bloodlet was without question one of the most innovative and original acts around during the height of the 90 s metalcore boom - not to mention one of the most technically proficient. Some have argued this point with me over the years, but I always found Bloodlet to be one of the single most excellent live bands out there at that time as well. They d basically take the stage, play their entire set straight through without stopping, and disappear without uttering much of anything to the audience - other than perhaps a succinct, We re Bloodlet.
This album is just a complete fucking classic, and one that s all too painfully underrated these days. But, man, everything about this shit was insane in 1996 - the cleanliness of the recording, the atypical cover paintings (some of Aaron Turner s finest), the musicianship, and just the fucking sound of these guys. I mean, bands just didn t fucking sound like this back then, and really there s never been another band that has very directly compared to what Bloodlet created throughout their existence.
Perpetuate the sin of the fifth nothing is holy nothing is sacred begging the demons to surge kiss them on the mouth as the martyr is forgotten ascension through sacrilege forgotten benediction glorify embrace as all the angels in heaven weep take me away from here a man most abhorred to the gods my fists clench teeth grit I have witnessed your savior s demise I have watched you slice his throat and I have laughed bathe in infamy lust hypocrisy wretch.
Vocalist Scott Angelacos is currently in Hope and Suicide, which is probably the most known post-Bloodlet outlet, while bassist Art Legere currently explores more of an electronic/drum n bass direction in a project called The Amen Brothers, and guitarist Matt Easley has a new band called Daisie Cutter.
Unlike many of these holy terror selections, Entheogen is still easy to get your hands on, so make the grab if you were unfortunate enough to have missed out on these dudes:
Posted on Thursday, October 26th, 2006 @ 10:21 am 
Spalt funktion is the debut full-length from insane German grinders , released by Repoman Records (which doesn t seem to have a website).
This CD pressing is actually a remastered edition of an LP released shortly before, and both are limited to just 500 copies. Like the band s first 7 EP, this material is both frantic and punishingly heavy in its strangeness, but these tracks are far more unhinged in terms of explosive bursts of sheer chaos and blaring, caustic noisiness. It s not sloppy, but it can sound that way at times (I don t mean that in a bad way, mind you) since the time signatures are just fucked in many cases, as are the dissonant phrasings of the chords and note textures employed throughout.
They ve actually got a pretty strong recording in place that once again benefits the excellently off the wall drumming and keeps the at times appropriately biting edge of the guitar tone in check with plenty of rugged density - much of which comes from the completely brutal vocals - which remain some of the most impressive female growls, shrieks, and grunts I ve ever encountered. The tracks range from an average of less than two minutes to as many as nine, with some of the longer compositions actually exploring some literal experimental noise segments with glitchy electronics and ambient hums and such - which actually fits in quite well, believe it or not. Overall it s a generally brief 30-minute jaunt that roams through just enough of the band s slower, sludgier playing to give the listener some breathing room and spice things up.
I think I d like to hear them bring a little more of that element back into their writing - as on the 7 - to really counterbalance their over the top attacks and better demonstrate their cohesive force, but whatever the case, this is certainly an intriguing outfit, and that are doing their own thing in the world of D.I.Y.
grindcore.
If you re into the tracks above, I d suggest contacting the band directly for more information on how to get your hands on a copy. They re way into keeping the underground spirit alive, which I totally respect, so please do support them with a purchase if this is your thing!
Dead Weight, Dance Floor Justice, and Ignite the Will
Posted on Wednesday, October 25th, 2006 @ 9:22 am
We ve Seen Better Days (on ) is the debut full-length from Florida s own Dead Weight, and with such burly vocals, punishing power chords, and forceful breakdowns within their massive onslaught of crushing metallic hardcore, one might suspect that this is somewhat of a toughguy sort of band or something along those lines, but nothing could be further from the truth. The band is comprised of current and former members of All Hell Breaks Loose, 24 Hours to Live, Target Nevada, and Dance Floor Justice, and their lyrical message - while furious and at times blunt - tends to fuse straightforward anger with calls to bring the message back into the music with regards to the hardcore scene, even utilizing occasional socio-political overtones. Don t get me wrong, they re definitely not rewriting the book, but that s not the point either.The songs are heavy as fuck, relatively basic and in your face, the recording is super dense and has a pretty damn impressive feel going on, and the songwriting travels through just enough variety to keep things interesting as well as cohesive. In the end they bust through 12 tracks in about 31 minutes and I m definitely digging this shit. I haven t heard but so much of this form of 90 s-ish metalcore as of late, so this one certainly hits the spot.
As always, purchase the disc for yourself if you re into it:
Something has changed from the time when we were a country born of dissent. A nation created with a revolution in its heart. It didn t take long for these ideas to fall apart.
Will it fix itself? Will they hear their own plea to be a part of it? When you open your mouth do you feel that the air has been lobbied out?
It took my ears a few minutes to adjust to the sound quality (which is actually pretty solid), but there are definitely some pretty punishing breakdowns happening on this thing, and some of the slightly faster chord progressions are very well placed in terms of providing added boosts of energy. Not too shabby and Drowning is a fucking badass track. If these dudes start hitting that level more often they ll have me totally fuckin hooked.
You know the drill, so if you like it, buy it don t be an asshole:
Posted on Monday, October 23rd, 2006 @ 9:02 am 
The vocals are equally comfortable unleashing harsh screams/yells as they are singing or walking the line between the two - switching up between all such deliveries with ease. Similarly, the energy of the songwriting is held in place through fluid arrangements that relatively seamlessly weave through dynamics and influences, and since the bulk of these tracks are surprisingly succinct, the listening experience moves along quite well. Another superb recording and a brilliant layout (their best visual presentation to date) round out the complete package, so I don t know what else to say.
Contrary to what some would have you believe, Twelve Tribes is in fact one of those bands that s hard to properly do justice with words, so it s best to let the music speak for itself:
If you enjoy the above two tracks, I heavily encourage you to purchase this album, as well as 2004 s The Rebirth of Tragedy (which remains the band s masterwork to date) have you not had the great pleasure of experiencing it. I can t believe more people aren t into this band, and I truly hope they start to achieve the respect they deserve in the near future. Make the grab:
Posted on Friday, October 20th, 2006 @ 8:57 am 
Perhaps lesser-known during the holy terror wave of the 90 s, Ascension (from Cleveland, OH - probably the holy terror capital of the world simply due to Integrity s presence) was another band whose relationship to hardcore was fairly minimal from a musical standpoint, as their riffing was very directly influenced by straight up thrash metal - while still retaining a certain level of that undeniably effective 90 s chug.
And believe me, they more than earned their status under the holy terror banner through a raging assimilation of awesomely apocalyptic artwork, bitter lyrical themes, and even by quoting Anton LaVey on the back cover of this CD, The Years of Fire , which was their 1996 debut. While both of the band s records were great, there s a certain level of unhinged energy and aggression on the debut that always stuck with me a little more, and the opening track, Transit , is an outright fucking classic - easily the band s finest hour. Seven tracks, barely under 30 minutes they just tear through and leave it at that.
It s a quick listen, but one that still deserves a nod even today.
The putrid hate encompasses a million bleeding eyes, This is your way to kill the face of decay, With wounded lips, no voice will carry. And to the grave, corruption will take the blackened souls away.
Wrapped up in the beautiful cedar boxes. The force had its way. Pollution of body and soul, the whole world is dying.
Pollution of moral sin, there is no denying.
Ascension guitarist Matt DeVries and bassist Jason Hager later went on to Chimaira (though Hager only played on their first EP), while the latter is currently in a band called Years of Fire with former Ascension frontman Chris Wood (though I actually haven t really checked out their record yet). The Years of Fire is of course out of print, and Toybox Records doesn t even exist anymore, so sadly the CD seems rather tough to come by these days.
It does still seem to be available as a 10 from , though, and you can find their sophomore full-length, Abomination , on (incorrectly credited to the band name This Ascension ), among other sources. Posted on Thursday, October 19th, 2006 @ 9:09 am 
Life During Wartime (released by ) is the debut EP from Versoma - a new band featuring an impressive lineup whose membership has formerly been active in Anodyne, Turmoil, Lickgoldensky, Hot Cross, and Orchid, among others. The noisily aggressive nature of said groups certainly plays a significant role in this material, but there s a much darker element at work in terms of a cohesive sense of morose melody that manages to create a memorable sense of energy within the compositions.
The songwriting really does a great job of blending rather intense, caustic bursts and forceful melodies, not to mention a wide array of musical influences, and I also enjoy the way the recording places the vocals deep in the heart of the mix so that they re sort of fighting their way forward over thick layers of droning effects and gritty textures. It takes a little time to settle in, but I was quite intrigued by the end of the first listen, and even the lyrics really do the trick for me:
Very nice. I m looking forward to hearing more from these guys for sure.
Pick it up straight from the label if you dig the track:
Both male and female vocals are present at various points, and each singer has a great voice, so I think I d like to hear them harmonize with one another a bit more often and really milk their talents to some degree. It s pretty damn cool when a band can test the waters like this and come up with something of their own that sounds nothing like their influences, thus coming across as creative and original without losing its musicality or intrigue in a murk of experimentation. It seems to be relatively early on in Unlucky Atlas recorded history as well, so with time I could envision them really nailing the emotional impact of the already curious niche they re exploring.
The new American century waits and weeps to dream, not all a dream, a new frontier. The wrath of the lamb. Our days among the dead have not passed, tenuous and tense.
The giant despair. The forward presence. The wrath of the lamb.
Oh, and it s also worth mentioning, of course, that this professionally pressed CD-R comes in a great looking chipboard digipack printed in green and metallic silver inks, with a color insert for the lyrics and whatnot. Nicely done.
If you re interested, I d recommend contacting the band directly via or to inquire about getting your hands on some of their material.
Posted on Tuesday, October 17th, 2006 @ 9:23 am 
However, they actually form riffs out of that shit, which ain t exactly easy on the ears, but is pretty damn interesting. They also counterbalance the speedy blitzes and frantically shuffled changeups with some pulverizingly crushing slow to midpaced sludginess - at times even dropping back to some sparse clean passages or truly eerie melodic dissonance - and it s these elements that bear the most promise for me, hooking me in and keeping me interested in what the band truly has to offer.
But there are other elements working in Gaza s favor, too.
Amidst the churning density, the recording s pretty damn crisp and lets the bass presence make a good mark on the material, not to mention the fact that the drums sound pretty damn great, highlighting a strong performance that s one of the more consistently impressive attributes of the musicianship. And despite minor little issues, the layout looks pretty awesome. I m loving the photography, that s for damn sure.
43 minutes may feel a bit steep in terms of the total running time, and the band hasn t quite mastered their attack, but I believe this is their first full-length outing, and it s still early. At its best, I Don t Care Where I Go When I Die really strikes gold (check 2:27 and beyond in Hospital Fat Bags , that shit s god damn amazing), so I m hoping for an increased balanced from the darker, more powerfully atmospheric side of Gaza s approach in the future, cause they could do some serious fuckin damage - and already do!
Posted on Friday, October 13th, 2006 @ 10:37 am 
While at some point next year will probably become best known for their reunion, for the last several years they ve been most often talked about as the band that was initially the home of current Shadows Fall vocalist Brian Fair, Killswitch Engage bassist Mike D Antonio, and Seemless guitarist Pete Cortese.
It s rather ironic that said reunion s first result will be a set of re-recorded tracks from the band s rather scanty discography, because I always though their recording quality was pretty decent compared to other such bands at the time, and their last record in particular sounded pretty fuckin great by mid- to late-90 s indie label standards. But that s not the point.
Prior to their 1998 breakup, Overcast was among the metalcore elite (again, before the genre s name was such a dirty word), boasting a truly unique sound of their own that, alongside select peers, took the chugging midpaced aesthetic of the east coast s staple formula and headed in a much more metal-based direction - going so far as to drop some blatant death metal riffs here and there.
While not exactly technical per se, there were certain complexities happening in terms of the interaction between instruments and the way the songs were arranged - plowing through significant shifts in tempo as well as stark contrasts between surprising fits of melody versus base, outright brutality. While their material always fell on the darker than average side of the genre, I d also credit Overcast with being one of the earlier bands within this niche to combine an array of different vocal styles, and when you unite all of that with their at times vicious lyrics (while not as apocalyptic in content as their contemporaries), they did indeed receive the holy terror stamp from time to time.
A toxified embrace holds me up as my suicide increases and my life skids out of control, shouting back in my face, as I lose control of my hands and mind, as I reach for my peace, I claw at my eyes because insensitivity is looking away, just like a raped mother to her child I hate you just the same
Just shy of 20 minutes, the Begging for Indifference EP (which includes two tracks recorded in 1995 and two from 1993 s Stirring the Killer 7 ) was always my favorite Overcast release for some reason there s just something about the overall vibe and the consistent force of the songwriting that s always hit me the hardest.
This shit s out of print, of course, and I assume they ve re-recorded some of these gems for Reborn to Kill Again , so I ll go ahead and post the whole EP:
4.
I m definitely curious to see what all the Overcast reunion will hold, cause these guys were the shit in their day. If only bands were still able to achieve their own individual sounds like this, you know?
Posted on Wednesday, October 11th, 2006 @ 8:57 am 
The fact that the band cites old Earache releases and hardcore/punk as influences makes it no surprise that a few Bolt Thrower riffs are indeed borrowed on occasion (probably the only accuracy to be found within the aforementioned review in said relatively big extreme music magazine) - granted they re usually played at two to three times Bolt Thrower s top speed - but no one said originality was the purpose, did they? Because it s not. Complete devastation is.
Level-Plane may seem an unlikely source for such, but for my money this is one of the best grindcore releases of the year. I m definitely on board.
If you re on the same page, pick this shit up from Level-Plane s rather large distro, whose service is top-notch:
Posted on Tuesday, October 10th, 2006 @ 9:49 am 
Holy shit, I love it when something like this happens, though it s rare.
But may have just placed themselves within the Most Improved Band of All Time category. I very specifically remember that I practically hated their debut CD a few years ago, and I got a few angry emails regarding a couple of lines from my review of said debut, such as, I am sick of listening to/watching a bunch of hipster fucking losers with bad haircuts and tight clothes squirm around like Mick Jagger in withdrawal screaming and squawking like fucking chickens, and, the musicians in this band should seriously consider beating their singer to the ground with no remorse should he refuse to can the squealing. Hey, give me a break, it was an annoying CD, alright?
I didn t mean they should literally beat the guy!
But thankfully none of that matters anymore. Their second record was a minor improvement, and The Always Open Mouth ( ) proves that the third time s a fucking charm, because this barely even sounds like the same band anymore, and completely eclipses everything about their past efforts across the board.
I can t remember the last time I went from hating a band to finding them awesome, but that s the case here, no doubt. 15 tracks ranging from one to five minutes and covering all sorts of ground from crushingly heavy and borderline caustic intensity to atypically arranged chord progressions that fuse melody and dissonance to bizarrely spacious riffing and layering that creates sinister atmospheres reminiscent of Converge or Cave In during their most formidable years, but given strangely avant-garde facelifts. Plus, there are plenty of dark rhythmic pulses and noisy excursions accented by dense smatterings of tactful electronics, and the vocals are all over the place from layered shouting, singing, and spoken passages to whacked out effects and whatnot - all of which is far more effective than their past efforts.
It s somewhat of an impossible task to categorize this band now, and that s very cool. This is an excellent fucking record.
The packaging on this thing is fucking ridiculous, too.
And I mean that in a good way. The booklet is huge and contains tons of metallic silver ink that creates some interesting layering effects, and the cover is printed on transparent acetate to continue the whole layering thing. Insane.
Very, very recommended. I m totally shocked and impressed. Pick this shit up:
Posted on Monday, October 9th, 2006 @ 8:49 am 
A little over two years ago when I first encountered (who were without the h in their band name at the time), I completely flipped out and immediately fell in love with the Swedish outfit s brand of dark, brooding, metallic rock - which tends to avoid basic categorizations in favor of a moving, emotional approach that a wide range of listeners should be able to appreciate.
I ll be forever indebted to Avi Roig at for introducing me to this excellent band, and I can only hope that my efforts to sing their praises has in turn brought their music to yet another audience. This particular album, The Second Wave , having been released on a much larger label (the UK division of ) than their debut, seems to be garnering a bit more press, which is a good sign, but I can t help but think that Roadrunner s a bunch of complete fucking idiots for not releasing this outstanding piece of work here in the US. They ll try to rip us off with repackaged reissues of year-old albums and completely worthless best of collections, but they won t make a meager investment to try to promote a lesser-known European band on American shores?
Pathetic.
But enough about that. The point of all this ranting and raving is that Khoma is a truly outstanding group, and I certainly encourage everyone reading this to at least give em a shot.
The sweeping dynamic shifts of their songwriting add/subtract layers to find softer passages of droning guitar tones and robust percussive textures building up to explosive bursts of pulsing low-end and powerfully energetic guitar work where intermingling melodies and dense chords piece together behind soaring vocals to create an almost epic sensibility at times. Thankfully some of the best tracks from Tsunami , their relatively obscure debut, have been re-recorded herein, and the production values are absolutely outstanding - perfectly accenting the manner in which Khoma s material ebbs and flows throughout. Also excellent is the satin-finish digipack, which includes a booklet containing all of the lyrics in handwritten text alongside some very nice photography that provides a fitting aesthetic match for the music.
I have to say that Like Coming Home is one of the band s most amazing compositions to date, and one of my favorite songs of the last decade, without question.
Briefly going back to my rant about the Roadrunner cats being fuckin idiots and all that, sadly it is not easy to find this CD in the US for a reasonable price at all. After months of searching, I finally got fed up and paid about $23 (including shipping), which was the cheapest price I could find.
I wouldn t trust buying it on eBay because there are way too many sketchy sellers pawning off shitty slipcase promos for full price with flimsy item descriptions. I got mine through the . I d recommend using the seller cdzone_co_uk , as that s who I went through and I had the disc in my hands in less than 10 days.
Don t use caiman_com because they re full of shit and don t have most of what they list in stock, and even if they do actually have it they take too much time to get the merch to you anyway. I love this band and fully encourage the purchase of their music, but god damnit Roadrunner needs to get on the fucking ball and release this shit over here, too. Morons.
Posted on Thursday, October 5th, 2006 @ 9:13 am 
Faulter is from the Orange County-ish area, and this is their first record - impressively self-released in its initial run, and now seeing a re-release via , which is somewhat surprising in that I could totally see this shit coming from a major label. I mean, they re basically taking the catchy, poppy emo of bands like Armor for Sleep and Spitalfield (both of whom I fucking love, no shit) and giving it an even more pristine, somewhat mainstream sheen. How the hell they were able to get this thing sounding so polished and perfect at a time when they had no label backing is beyond me, but they damn sure did.
I get made fun of from time to time over the fact that I listen to this kind of stuff because people just can t understand how I can go from listening to radio friendly rock music to Gorgoroth or whatever, but I don t give a shit, man. If I like it, I like it, and I m not gonna pretend otherwise, because I ve got no one to impress. These songs are super catchy, and I can appreciate the writing, so that s all I care about.
I m into it. Do I identify with the lyrics or find great meaning in the content? Nope.
But I don t identify with bands singing about defiling dismembered corpses or glorifying the dark legions of Satan either. Good music is good music, it s just that different people have different tastes.
Don t be ashamed, make the grab if you enjoy the songs.
No one has to know
Posted on Wednesday, October 4th, 2006 @ 9:23 am 
The contrast of such explosive bursts of tactful speed and such a dark, dismal midpaced crunch may seem somewhat odd, but believe me it works (as you ll hear below), and I m pretty god damn surprised that these cats haven t been scooped up by a label yet. This disc is so damn short I really don t even know what else to say here. This is intense, powerful, open-minded, creative hardcore and I m damn sure all for it.
Check this shit out:
I m not sure how much this puppy s selling for, but it s probably extremely reasonable, so for ordering information or what have you. I can t wait to hear more from these dudes. Great work.
Posted on Tuesday, October 3rd, 2006 @ 8:54 am 
It s sort of a strange mishmash at times in the sense that some of the most restrained areas almost have a radio rock sort of quality happening, but then on the other hand the most aggressive moments are pretty damn fierce. It s not what I would call particularly original, and there s definitely room for minor improvements here and there, but I will say that their songwriting s already in a pretty good position, and there are a couple of more technical riffs that have a really cool vibe that touches on some of the picking patterns and melodic attributes that tend to catch my ear the most (check about 2:16 into She s Living Just Like You ). Not bad.
This thing s on sale for just $5 right now, which is pretty insane, so pick it up if you like the tracks:
Posted on Monday, October 2nd, 2006 @ 9:12 am 
For the most part the band s style is rooted in the early classics of the American death metal scene in terms of brutal midpaced riffing and a good dose of speed, but they tend to allow the bass to counter the guitars fairly well, and toss in some discordant layering and soloing that keeps things from sounding like a throwback or what have you. The recording s pretty damn strong for a band at this level as well - infinitely stronger than that of their debut - with a nice and chunky guitar tone, dense bass that doesn t get completely lost in the mix, fairly natural percussive textures, etc. When looking at the big picture, Utopia Reborn defines a very admirable progression for Solace of Requiem to date, so I hope they start to garner a bit more attention, because I could see them doing some serious damage if they continue to grow at this pace.
Well done.
It s worth noting that the above track features some guest vocals from former (and only, if you ask me) Malevolent Creation vocalist Brett Hoffmann as well. Good stuff.
Pick this shit up for $10 from the band if you re into it:
. that does not sell anything in Finland."
Check it out.
. rock, or something.
Macs are fucking annoying. Clear your cache and reload this shit and that should do the trick.
com: Schoolin fools since the dawn of the millennium.
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