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01/10/2010, Site pre-launch
Busy last few months for us here at MetalDominion but hopefully the wait will be worthwhile - we're currently in the process of conducting an open-beta of the website finally. An open-beta is basically where the website is available to the public as normal, however there may be a high amount of weird crap going on so bear with us!
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Attention, all you industrial metal fans - KMFDM are back with their first studio release since 2009's "Blitz". And they're here to remind people that they have been doing this longer than a lot of other pretenders in the scene. A career that has spanned more than 26 years, 50 unique releases, 100 remixes and over 200 songs, KMFDM are a virtual powerhouse of industrial noise-making. And with WTF! they have re-asserted their place in the hierarchy once again. Containing 11 songs of hard-edged brutality that stabs you in the ear with a persistancy that to be honest has very few equals around at the moment. Listening to yhe album reminds one of the heyday of industrial metal in the 90s, when we had bands like Cubanate, Kill2This and Pitchshifter mangling the dark, sweaty underground every day with their unique brands of insanity. Yes, to be honest it sounds a little bit dated when compared to where the scene is at currently, but it reminds the listener that the Industrial metal beast is one that refuses to lie down and take it. Kicking off the proceedings with "Krank", a chunky little slab of nerve-shattering brutality (also their lead single), it's an album that immediately grabs you by the balls. More of the same comes from tracks like "Come On - Go Off", "Rebels In Kontrol" (which garnered attention as a protest song in support of Wikileaks), "Lynchmob" and "Spectre".However, it's not all full-ahead industrial metal on the album, there are some more progressive and slightly introspective moments on offer here, tracks to note here would be "Dystopia" (a "dreamy yet driving number") and "Death Burial of CR". There's even a slightly, dare I say it, "pop" edge to one of the tracks, namely "Take It Like A Man" - that's if you like the idea of Katy Perry tortured and roasted alive, if you know what I mean. Lyrically also, it's typically KMFDM, all political angst, rage and intellectual observations of human nature, society and much more. All in all, a very strong offering from the British outfit, and definitely one of their strongest to date. Should be interesting to see these tracks live and where they next go with their musical insanity. Knowing KMFDM though, I shouldn't think it'll be that long before we get to see what it's like. Tracklist: 01. Krank02. Come On Go Off03. Rebels In Kontrol04. Lynchmob05. Take It Like A Man06. Viva La Mort!07. Dystopia08. Panzerfaust09. Spectre10. Amnesia11. Death Burial Of C.
Kirk Windstein is a clean man. After years of struggling with alcoholism, he has returned with "Sever The Wicked Hand", which is quite possibly Crowbars strongest offering to date. Right off the bat, the Louisiana sludge oufit mean business. From the strident opening chords of Isolation (desperation) to the crushing end of the album you can tell that they're bigger, meaner and more pissed off than ever. STWH is the sound of a band who've battled personal demons aplenty, and have become all the better for it, whilst not losing sight of their Modus Operandi - which is to pummel the listener into a sense of absolute misery. Windsteins voice is crushing, malevolent and brooding, Brunsons guitars are crushing and sludgy, Bruders bass rumbles like a magnitude 9.0 earthquake, and Buckelys drums provide a blast like an atomic bomb going off in your speakers. The restrained energy of this album builds, being occasionally released on tracks like "The Cemetary Angels" to skull-crushing effect. The album takes a 180 into introspection on "Farewell to Misery", a fitting title considering what Windstein has been through for the best part of the past 20 years. And by the time "Symbiosis", with its surprisingly upbeat, but entirely appropriate feel, leaves you with a persistent migraine and sense of wonder, you know you've just witnessed the rebirth of a band. In short, a masterpiece of the sludge metal genre. Crowbar have laid down the gauntlet for all to
Illinois based deathcore crew "Born Of Osiris" return with "The Discovery", their follow-up to 2009 debut "A Higher Place". It seems the band have definitely found a home onDC label Sumerian, who they have been on for pretty much their entire career. What to say of the album? Well, its clear that these guys are competent in what they do within their own genre. But what is deathcore anyway? It seems to be an excuse to lump a melange of bland, metal-by-numbers also-rans and make them seem relevant. Sadly, BOS do not seem to stand out too much from their counterparts. You have all the elements here that make this scene so damn homogenous. You have the screamy dude and the melodic dude on vocals, predictable breakdowns circa-2007,palm-muted guitar leads, and everything else that goes with the territory. Hell, they even try to be a little bit Dillinger Escape plan in a few places. Predictable. Even with the melodic direction of (two worlds of design) and the haunting The Omniscient this is a sadly pedestrian effort that fails to break any boundaries in an already bloated scene. Sorry guys, gotta do better than this if you want to be noticed in the wider world of metal, and not just be passed off as another footnote in this brief period in Metals
Live review from the Death Holy Death Tour. Black metal legends WATAIN and SHINING assault London once more. Stood on the pavement alongside the road on a grym and very frostbytten Sunday evening, a shivering line of black souls slowly enter the Relentless Garage. Slowly might be an understatement. I was well and truly frozen by the time I entered the venue, but suitably so, as I was just about to witness Swedish black metal legends Watain, and Shining. The Relentless Garage is a great venue. Its roomy, the sound quality is good, the bar at the back leaves the sides of the venue clutter free for fans wanting to get close to the stage and the sloped floor means that generally everyone can get a good view of the band. Certainly in comparison to other London metal venues *cough* Underworld, its a good place to be. So with beer in hand I was in good spirits as personal favourites Shining started up. The first song Besvikelsens Dystra Monotoni wasnt much more than a warm up in my opinion. The vocals were a little off and not much of a crowd had formed. Having said that, Niklas brought fantastic stage presence and really captured my attention, and I was only momentarily distracted by their guitarists indoor-sunglasses wearing antics. Their third song Yttligare ett steg nrmare total jvla utfrysning (which translates roughly to Another step closer to total fucking ostracism) really brought the crowd in. An awesome intro from Kvarforth, and plenty of snare reverb brought a real atmosphere to the place. A couple of songs from their anticipated upcoming album Fdd Frlorare seems to have brought a more progressive sound to Shining, straying away from traditional black metal to a more melodic sound. I saw one guy in the pit actually hip thrusting during a particularly groovy bass and guitar breakdown. Despite their musical progression however, they appear to still be welcomed among the black metal elitists. Even a GnR Welcome to the Jungle intro to 'Claws of Perdition' sparked up a mosh pit, which sent me and pint flying across the room. Some fantastic crowd participation, a drum solo and several stage antics later, and everyone was wired. It has claimed that there have been some cases of people committing suicide under influence of Shining's music, but I couldnt have come away happier. Photo by John Muskett So... the first thing I noticed about Watain was the stench. I was expecting a fair amount of gore and stood a little further back to avoid being sprayed with blood, but it didnt make much of a difference. The staked pigs heads, heat from candles, various fires blazing and stage smoke only made the whole thing worse (I was actually sneezing out black dust over the next couple of days). However, raw black metal from the likes of Watain aint pretty and the crowd didnt seem to mind as the band tore apart the room with Deaths Cold Dark. Tight as ever, Watain put on a fantastic stage show. Synchronized headbanging, complete with one foot each perched on a floor monitor; they brought the crowd to a frenzy. Only lit with a red glow from behind and dressed to impress, they really brought hell with them to the stage, barely even pausing between songs to continue bringing the black metal barrage. Front man Erik Danielsson exerted vast amounts of charisma, and really immersed himself within music. Towards the end of their set however, I did start to feel their set becoming a little monotonous and the in-your-face aggressiveness was starting to wear on me. Watain put on a terrific show as ever, but I think Shining made the night for
Metal Dominion's very own (not so) token Scotsman Jaime Cross gives you the lowdown on what happened when Periphery hit Glasgow. Read with your eyes to see what happened Friday 4th February at The Cathouse, Glasgow. As The League of Extraordinary Djentlemen tour hit Scotland I managed to stroll in to catch the last of Monuments's setlist thanks to the venue shifting the start time in their first (as far as I'm aware) but hardly last error of the night. So what could I scrape from this single track? Lots of bass and samples. The sound was not what one would call... passable. There were barely any guitars and a fair few elementary sound issues. For bands like this, only hearing the low end rhythmic parts becomes pretty dull, but throwing a fantastic bass solo into the mix is one way to overcome that issue and Monuments themselves are pretty damned energetic so it's a shame that the sound has let them down. Tesseract on the other hand managed to sidestep the balance issues (you could hear the guitars as well!) and break into Deception to the delight of the crowd who decided to join in for the chorus. They're stupidly tight live to the point that they may even have the CD running through the PA, though the vocals going up and down (and feeding back) in the mix at least proved they were in Top of The Pops mode. The band moved onto The Impossible for more crowd singalongs and one couldn't help but notice how they've managed to keep that same sort of atmosphere they've attained on record and bring it to the live environment. The crowd got rowdy for the outro and some of them stayed that way for Perfection, especially during the choruses. The band managed that fluid transition between songs as they moved straight into Epiphany, though the crowd became a little quieter here for some reason, given that it's probably one of the band's more intense tracks. The intensity was ramped up for Origin and despite the few feedback issues that had been going on all night the sound was massive, with the drums especially sounding colossal and the crowd just lapped it all up. The band decided to play a new (or old if youve been following them for a while) song from their upcoming album One called Nascent. The contrast between it and the tracks from the Concealing Fate EP is rather noticeable, with Nascent being a lot moodier and heavier in comparison. But it was around this time that a couple of people next to me decided a rave was in order, which was a wee bit strange but given that it was Glasgow not entirely unexpected and they changed the lightbulbs throughout the final track Acceptance, which saw the rest of the crowd getting involved in a slightly different manner. Once the song kicked in the pits began near the front, as youd expect, and following the nice big groovy wrap up singer Dan Tompkins decided to catch some surf. All in all it was a very good showing from the band. They produced extremely tight performances that were only marred by the numerous errors at the sound desk. Thankfully they avoided a horrible mix, which leads me nicely into Periphery. Oh Periphery. They had horrible luck on this tour, with people getting injured (one of their guitarists managed to break his finger, but still managed to pull of a tapping solo during Buttersnips at this gig) or being ill or suffering from what was probably the worst sound Ive heard at a gig. The mix had a lot of feedback cropping up, the kick just overpowered everything bar the vocals, which were yo-yoing about like they were for Tesseract and the odd solo which was just far too high (read: painful) in the mix. As I mentioned while talking about Monuments, hearing only the low end for bands like these makes for a very dull listening experience. Not that the crowd seemed to care that much, they went nuts. The lead lines that managed to break the muddy surface were really cool, as were the little glitchy interludes between some of the songs but overall the sound didnt improve until the second last song of a really short gig. Icarus Lives saw the crowd singing along and sounded massive, the way it should have been. Periphery wrapped things up with The Walk and I wish theyd have more stuff like that. It sounded a bit different to the rest of their set. Instead of chugging along it charged at full pelt. It sounded vicious and monstrously heavy. The tempo shifts that the band just locked in with the greatest of ease and highlighted how impressive the gig could have been if Id been able to hear anything. So aye, the venue claimed the scalps of opening and headlining acts sound-wise in what should have been a mesmerising gig. An utter shame in what looked to be a contender for gig of the
Female fronted Symphonic metal. Love it or hate it, its certainly lasted beyond what some critics said of it, and has grown into a mature sub-genre within the varied, multi-hued world of metal these days. And in Sirenia, we have one of the standard-bearers of the scene. The band, from Stavanger in Norway, have followed up their critically acclaimed fourth opus "The 13th Floor" with this sublime offering. Building on the stunning voice of Ailyn, and the intricate arrangements and death metal vocals of Morten Veland, which characteristically are very symphonically heavy, this is easily one of the best albums of this fledgling year so far. Starting out with the strings and urgent driving guitars of single "The End Of It All", the album gets off to a good start. The song is immediately recognisable as Sirenia, and sets the tone for the rest of the album. The lyrical content of the album is still based around recognisable Sirenia themes of Love, loss and human experience. The pace is at times refrained, at others driving, at others mournful and well, beautiful really. Stand out tracks on the album include the piano led "A seaside serenade" (complete with choral refrain), the tear-jerking "Winter Land", and the progressiveapocalyptic-tinged "Coming Down", and the breathtaking acoustic rendition of title-track "The Enigma Of Life", which closes the album. However, don't let this fool you, the entire album is one brilliant slice of symphonic power metal after the other. This is an album that works on both an individual song level, and a whole album as well. The Enigma Of Life is an album that has taken on the elements that make Sirenia stand out from the crowd, and has built on them to create something that sounds complete, rounded and fresh in the genre. This is not a contrived piece of work at all, it is refreshingly honest and real. This is an album that you should add to your colletction without any
Wait a minute. What happened? Where the hell did the 90s, Industrial, Grunge, TechDeath Metal all go? Did any of that actually happen?Or were we all just in a drunken haze the whole time? Please, someone tell me, because this album isn't helping my thought processes very much right now. To say that "World On Fire" is unashamedly80s would be like saying Sting comes once a year (Not Santa, Sting. Yes I said it. Santa does not exist, move along). It would be way too obvious and a complete understatement. This album IS the 80s. Sacred Oath have basically listened to everything that has happened since the days of Anthrax's "Amongst The Living" and have then ritually burned it on the used Loincloths of Manowar. Whilst shredding to Death Angel. You'd forgive me for making out that Sacred Oath were a new band on the scene trying to relive a past they had no part of at this point. But you'd be wrong. Sacred Oath were indeed around in the mid 80s, and so were there in those halcyon days of metal, where nothing was coiffured or polished about Metal (that was left to the Glam Rock poseurs of course). It must be remembered that they were one of the progenitors of Power Metal. Having released their debut album in '87, rthey then disappeared for two decades until they reformed and launched their own brand of proto-power metal back upon a world where metal had changed into something altogether more commercial, So it's not hard to see why they have completely ignored everything since the late 80s. This is a band showing us how it all started for Power Metal, a real step back in time. Unfortunatley, this is also where the album falls down. Progression happened for a reason. Their contemporaries moved on and went to ever-greater heights. This just feels, well, stuck in its ways. It's a decent, but not exactly essential thrash/power metal album. Vocalist Rob Thornes voice has matured, and his falsetto wail is not overused, and is altogether ballsier than before. However, I don't know if its the production (probably done by a guy called Kurt or something), or something else, but it does come across as slightly cheesy. There are a couple of decent tracks on here, The King Must Die has an awesome chugging riff, and has a slight Arabic feel to it, Drums of War really showcases some awesome shredding, but to be honest apart from that for me the rest of the album is, well, mediocre, with a few sparks of potential in there. Unfortunately, this won't really win them many new fans. I dunno, maybe its too out of the times. It is a decent album, but not really good enough to stick out from anything else. This is a band that really have missed the boat. One for the die-hards
"'We're Here Because We're Here' is the finest they have unleashed so far... a stunningly enjoyable album.' ALBUM OF THE YEAR - Classic Rock presents Prog 'A flawless album of simple but mesmerising songs.' PROG ALBUM OF THE YEAR - Classic Rock ' A dazzling collection of highly-charged, progressive and emotively atmospheric rock songs that rarely dip below the euphoric.' Rocksound 'Scouse progsters make a spectacular return... makes a seven year wait feel entirely worth it' KKKK Kerrang! Following their critically acclaimed 2010 'We're Here Because We're Here' album, Anathema are set to tour the UK this February and are due to announce details of new EP 'Dreaming Light' in the coming weeks. The tour dates are: 09/02 : Durham - Live Lounge 10/02 : Glasgow - Cathouse 11/02 : Sheffield - Academy 2 12/02 :Nottingham - Rescue Rooms 14/02 : Leamington Spa - The Assembly 15/02 : Manchester - Academy 3 16/02 : Wolverhampton - Slade Rooms 17/02 : London - The Scala Anathema returned last year with their new album, We're Here Because We're Here. Awarded Classic Rock's Prog Album of the Year as well as a host of other accolades, this is the first collection of new material from the band since the 2003 album, A Natural Disaster. A multi-coloured, multi-layered work of unbridled emotion, passion, and intensity, the new album has been embraced by their legions of fans and the worldwide press. 'It's been seven years coming but Anathema's eighth studio is very much worth the wait... Getting mixed by Porcupine Tree's Steven Wilson is a fitting honour for such a splendidly built record' 9/10 Metal Hammer Formed in Liverpool in 1990, the band's sound and musical vision has continually evolved over the ensuing years while always remaining true to the band's original goal of creating forward-thinking, meaningful, passionate, and honest music. With each release they moved beyond the boundaries of limited scenes and pigeon holes, creating a complex and emotive atmospheric sound. The producer, Steven Wilson (Porcupine Tree), has described it as "definitely among the best albums I've ever had the pleasure to work on." Anathema has been at the forefront of the UK rock/metal movement for many years. They began their journey as pioneers of melodic heavy music, influencing a myriad of bands to follow them, before outgrowing all genres and limitations as they fearlessly explored new territory and new ways to express feeling through sound. The line-up is really a collective of two families who were quite simply born to do it. Anathema consists of brothers Vincent, Daniel and Jamie Cavanagh, alongside childhood friends John Douglas and his sister Lee, who is an incredible singer in her own right. The line-up is completed by Les Smith, who brings much in the way of production expertise to the band. There is a deeper bond in the group that transcends usual band politics, ego, and self-interest. They have a shared vision: to make the most incredible music they possibly can, and it seems, despite the lavish praise heaped on the band for their past work, that they are now taking their work to a whole new level. See Video blog
As Overlord of this site I feel compelled to butcher our usual remit of bringing you news, reviews and interviews related to metal and instead have a little sojourn down another dark and moist avenue of interest - guerilla dining. Guerilla dining might sound a little like one of those 'if carling made...' adverts, and in many respects that's bang on. If RATM made burgers, by god they'd taste like this. I speak, of course about the dining sensation known as The Meatwagon, founded by enigmatic seared-bovine afficionado, Yianni. Oh, you haven't heard of it? The Meatwagon is a burger van/catering firm typically found at various festivals, but one that houses the most mouth-wateringly well made burgers the Overlord has ever stuffed into his gaping craw. Regrettedly it was pinched by local oiks from its nest in Peckham, London, the culinary captains of offered a reward of free burgers for life for information regarding it's current whereabouts. Of course that didn't work, since the scumbags who stole it probably would just create their own burgers with their new-found mobile burger factory, but we digress... In order to raise the cash for The Meatwagon V2, The MeatWagon crew set up shop above the otherwise quiet, dull and uninteresting Goldsmiths Tavern in New Cross Gate, south-east London. And while it isn't kvlt, grymm or remotely metal, it's fucking tasty stuff. It's also horrendously busy. The Overlord knows people (what know other people!) and didn't have to wait around to get in, but expect to queue, don't expect to book ahead, and don't expect draught beer to wash down that tasty, tasty burger with - bottles only. New Cross Gate, is mostly known for Goldsmiths University too, and the apalling try-hard clique of art and drama students it spews forth into the public. Expect to encounter them, as well as your middle-aged foodies, ageing punks and of course, yours truly. Burgers are clearly the main speciality, and at 6 a pop for the standard cheesy variety you might be thinking why, dear god why? However if you're remotely turned on by the notion of homemade, lovingly cooked to rare perfection slabs of juicy cow then you'll want to check this place out before they make enough cash to buy a new mobile van in mid-March. The chilli cheese burger is particularly going to interest you. The Overlord only has half a remaining tastebud calibrated mostly for Jaegermeister and frankly it nearly knocked my kvlt My-Little-Pony socks off. They do sides too, which is the Overlord's only area of complaint - 3 is a bit much for a small stack of fries, you're better off going halves on an extra burger. So if you like dining with the enemy, eating excellent cow and maybe a little live music available at the New Cross Inn across the road, check it the fuck out and help these guys get back on the road. Tastes like: cow chicken fisted with cheese and herbs, marinaded with chilli and dosed with crack Variety:Chilli! and a lot of other options, but gives a fuck they do Chilli burgers! Value: Great for the burgers, don't bother with the fries. Overall: Unless you're reading this from inside the joint whilst eating a burger, you're insane. Or vegan. In which case they'll turn you. Here's a link to their site. Their address is: The back of The Goldsmiths Tavern (up the stairs) 316 New Cross Road London SE14 6AF Open Tue - Sat, 6pm-11pm for food. Cash only. Try to book and they'll laugh at
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