Metal Bulletin Zine #45 Washington state, U.S. www.metalbulletin.blogspot.com www.facebook.com/pages/The-Metal-Bulletin-paper-zine www.twitter.com/MetalBulletinZn Blood of Kings Wings of Purity Skelator (three bands from Washington)

Vocífera (Brazil) Begraven (Germany)

Darkest Era (U.K.) Wasted Land (Saudi Arabia) Steel Prophet (U.S.) Décembre Noir (Germany)

The Wounded Kings (U.K.) Iron Man (U.S.) Mournful Congregation (Australia)

Nightfell (U.S.) Chronos Zero (Italy) Loudblast (France)

plus: a contribution from Jojo (Fuglymaniacs) on Overkill www.fuglymaniacs.com (issues online, concert videos, interviews, reviews) history of Metal Bulletin Zine #1-20: (2006-2009): Wisconsin #21-26: (2009-2010): Texas #27(2010)-- now; Washington state

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— __ metal on the radio/internet (Pacific Time) Metal Shop (Seattle, WA): Saturday 11pm-3am KISW 99.9fm www.kisw.com Sweet Nightmares (Houston, TX): Thursday night 9pm-12am KPFT 90.1 fm www.kpft.org Excuse All the Blood (Olympia, WA): Friday night 11pm-1am www.kaosradio.org — This issue begins with three bands from Washington state, home of Metal Bulletin Zine. Blood of Kings: Starvation (Tridroid Records) Blood of Kings’ thrash/heavy/speed metal embodies tradition. Put it this way, the band has taken pictures in which they wear shirts of Grim Reaper and Coroner. That right there says a lot about their attitude. Screaming vocals, shredding and speed are essential elements for this band. Old school metal or no metal at all is their attitude. www.facebook.com/bloodofkingsmetal Email: bloodofkingsmetal@hotmail.com Wings of Purity is one-person fast-and-shred instrumental power metal from Kirkland. It’s 30 minutes of guitar-oriented melodic speed. Hear the complete recording at Bandcamp or Soundcloud and download it for free, if baby Dragonforce-like speed is your fancy. It’s a rough demo recording, but the guitar work gets across clearly. www.wingsofpurity.bandcamp.com/releases www.soundcloud.com/wings-of-purity Skelator Words like “true metal” and “old school heavy metal” are more than just phrases for Skelator: it is their music. Skelator is a conservative-traditional heavy metal band. If you agree with them, Skelator wants you in their battalions. Whether it’s the old 80s sounds of Jag Panzer, Omen, Armored Saint or Helstar, or perhaps nowadays Sacred Steel, Metalucifer, Darkest Era, Argus, Magister Templi, Pharaoh, Vestal Claret and Stormwarrior; or, the heavy metal on Infernö Records, Auburn Records and Pure Steel Records.

Skelator (est. 2008) has several albums that celebrate traditional heavy metal: shredding, solos, actual riffs (not the low-string chugging stuff) and singing. They say that their new work will be called “King of Fear.” www.facebook.com/TrueSkelator ***

*** Here are two bands that are new to the zine, and that have music for free download. Vocífera (Brazil): demo Totally missed the boat on this demo, but better late than never. It’s a two-song recording of thrash/death played with a good vibe of enthusiasm. You can download the songs for free. The band appears to be working on a new recording, but in the meantime, the demo gives a positive idea of their moshing, thrashing metal. www.soundcloud.com/vociferametal www.facebook.com/vociferametal Email: bandvocifera@gmail.com Begraven (Germany): demo Unfortunately, this death metal band is now split, after recording this 2014 demo. Regardless of that sad fact, the demo shows heart in the right place about old death metal. The sound is rough, not the high-tech robotics. The style is the uptempo/midpaced in the Death and Bolt Thrower style; the feel of classic-style uptempo/midtempo death. Solid demo. www.begraven.bandcamp.com www.facebook.com/pages/Begraven/299960943446202 Darkest Era (U.K.): Severance (Cruz del Sur) Every person has their individual way of hearing music, certainly, but the case of Darkest Era (Northern Ireland) seems a bit more perplexing than usual because the terms “Celtic metal” and “folk metal” have been utilized in relation to the band. Yet, I have no idea whatsoever as to why anyone would call this music “folk metal.” All I hear is traditional, melodic heavy metal, featuring a strong quality of melodic doom, contrasted with segments of uptempo energy. The category “folk metal,” to me, means old Skyclad, Cruachan, In Extremo, Korpiklaani, Eluveitie and other such entities with violins, bagpipes, accordions and other traditional instruments that underline the music with melodies of a particular tradition, time, culture or region. Perhaps for the Irish listener, or an expert, the lyrics seem very Irish, but to the non-specialist, the lyrics simply are heavy metal storytelling; lyrics alone do not constitute a genre. Again: Darkest Era is a traditional heavy metal band, through and through: at least on this album, there is next to nothing having to do with beer-drinking happy polka, Oktoberfest, humppa party tunes, or musicians dressed in furry boots.

Specifically, the sound of Darkest Era is characterized by a sense of traditional, melodic doom;

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melancholy in the vocals is impossible to disassociate from doom. Still, that is not all there is: in part, it’s solemn music, but it’s also headbanging metal. The melody comes from two primary places: the singing and the guitar work. It is commendable, in my view, that Darkest Era avoids clichéd melodies. The melodies can sound somber, even though, overall, Darkest Era is most definitely not slow music. It could be that the melodies originate, consciously or subconsciously, from a combination of Thin Lizzy and traditional doom (Candlemass? 80s Sabbath?), if you can imagine those classic guitar melodies of Thin Lizzy and melodic doom tinged with melancholy. In addition, Darkest Era’s use of sad, midpaced tremolo works wonders for the vibe of the songs. Of course, if the band has, in fact, borrowed traditional Irish melodies, I am not qualified to identify them; if so, then, my point is that those melodies do not sound happy or sweet, but rather somber and/or melancholic. “Folky”? I don’t hear much of that. By the way, the singing is so good that I am curious about Dwayne “Krum” Maguire’s live performance. Can Krum really sing this well live? People who have seen this band live can answer that question. I hope that one day I get to find out for myself. At any rate, the album is highly recommended for supporters of traditional metal, talent and good songwriting. www.darkestera.net www.facebook.com/darkestera Wasted Land (Saudi Arabia) Ahmed Khojah, the guitarist from Wasted Land—who call themselves “melodic death metal”—recently responded to questions about the band and metal music in Saudi Arabia. Wasted Land released its debut “Wasted Land” in 2013, but the band has been around for years, persevering. It’s challenging to keep a metal band together anywhere, and Saudi Arabia presents a set of concrete and special circumstances, as Ahmed explains here. At the end of this interview there is a link where you can hear the complete album. Thanks to the band for making its music available this way on Soundcloud. -- Wasted Land was formed in 2005, so you must feel very proud to finally have the album for everybody to hear! Well, it was a relief! We waited too long to finish this record and went through a lot, but thanks god finally we did it. Actually, after all what we went through, yes, we are proud of this record, indeed. After we finished or actually during recording most of band members got busy with things kept them away from music, some members got married, some started new business, you know life always keeps us busy from things we like! That's why we need music its always takes us away from

You live in Jeddah, an important city in Saudi Arabia. Are you one of the oldest metal bands in Jeddah or are there metal bands from the 90s, too? Actually, yeah, there were metal scene before in the 90s, there were like few bands, but since the beginning of the 2000s actually these bands increased and reached a good number here and in the whole country in general. What was happening in 2005 that you decided to form a band? Was it easy to buy instruments in Jeddah? I suppose that your neighbors were not pleased with loud drumming and loud guitars, ha ha! Actually, we all started to gather and jam together before 2005, let’s say in beginning of 2002, we used to jam only and play covers, no bands no scene yet here in Jeddah, and we were a huge group of metalheads and musicians after that smaller groups formed, then it turned to be bands and Wasted Land formed this way in a small jam session!

We were doing a folk/melodic death project, the feedback were awesome so we decided to start a band. Regarding instruments and stores in Jeddah, there are actually, but its very limited and few, you don't have many options, so most of metal musicians here buy their stuff online. Speaking of neighbors, yeah, it’s a headache! It’s always hard to find a place to jam or rehearsal, but in our case we used to jam in an isolated room in one of our member's house backyard so we didn't have a problem. Are there many opportunities to play live for metal bands in Jeddah or in Saudi Arabia in general? Unfortunately, it’s banned to play live here, specially metal or rock music, as you know, it’s considered the devil music. You will have to bring a license or permission from the government and I guess it’s no way to get that approval for such a thing. So we used to make private gigs and concerts in Jeddah, Dammam and Riyadh and still it was very risky and led us to several problems, so basically that's why the live metal scene here is kind of dead now. Are Saudi women becoming involved in metal music? Yeah, I remember one female rock band from Jeddah and you can find a good number of female musicians and metalheads around Facebook and social media unveiled everything. Do you have plans for a second album? What do you think will happen with Wasted Land in 2014/15? Yes, indeed, we have an idea we are working on lately or you can say a new theme. There are many riffs, melodies, materials in general on the shelf! But things

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make it up soon. We haven't planned yet, but we are coming back! As I said we have materials and ideas so why not! Let’s do it!! - - FYI: Hear the complete album at Soundcloud. www.soundcloud.com/wastedland www.facebook.com/wasted.land.official THE END. Steel Prophet (U.S.): Omniscient (Cruz del Sur Music) Heavy metal veterans Steel Prophet command a certain amount of respect by followers of the genre due to the fact that the band’s catalogue has several gems. Some say that “Messiah” (2000) is a classic, while others guarantee the same for “Dark Hallucinations” (1999), still others use the term “cult” in reference to “The Goddess Principle” (1995) or “Book of the Dead” (2001). Regardless of which particular albums are preferred, Steel Prophet wins the argument. The band’s public finds something special in the alliance of guitarist Steve Kachinsky and singer Rick Mythiasin.

Now, in 2014—after a long hiatus and a bunch of other problems, including Rick’s absence—Steel Prophet returns with Rick on vocals to answer: Does this team still possess the magic? One possible way to understand this work is to consider the band’s cover of Queen’s “Bohemian Rhapsody.” For instance, if you search other covers of said song, you will notice one overriding theme: just about everyone is doing their own “twist” on the song: lots of piano covers, ukelele versions, drum or acoustic interpretations or choir covers, so on and so forth. Whenever someone claims to do a version with their own “twist” it often means that they do not have the talent, ability and/or willingness to tackle the song as recorded originally. Imagine then the audacity of Steel Prophet to approach the cover with the intention of doing a rather faithful rendition, actually. Further, Steel Prophet has covered the song live at Keep it True Festival. It looks and sounds pretty darn good, too, on the YouTube video of it.

As a complete album, “Omniscient” exudes effort and confidence by a band sure of itself, that knows how to make quality heavy metal built on great guitar playing, wonderful singing and good vibes all around. In many ways, “Omniscient” serves as a culmination of Steel Prophet’s previous albums, as well as a reminder of why the band is relevant in 2014. Therefore, “Omniscient” revolves around uptempo songs overall, but the range varies from power, heavy and semi-thrashy metal, and prog and classic rock show up in subtle ways, carefully crafted around the “traditional metal” template sound, which, of course, means, amongst other things, large quantities of

great to hear Rick singing for Steel Prophet again, showing the energetic and melodic sides for which the band is known. “Omniscient” reveals that they have done much work in order to win back the trust of the people. In this equation there is only one element missing now: more audience to hear the album. Steel Prophet is looking to find you and win you over. Count me in. www.facebook.com/SteelProphet www.reverbnation.com/steelprophet Décembre Noir (Germany): A Discouraged Believer (F.D.A. Rekotz) Sometimes the sounds of experience and talent are expressed so well that the listener gets the impression right away that the album is a keeper, and a very good work that deserves a special place amongst the classics of a genre. That’s how Décembre Noir sounds to me, and sounded that way the very first time I heard and noticed that special something about the album.

It is a pleasure to hear both good songwriting and care taken in the guitar work. Sometimes a band sounds very skillful, as in this case, and I was curious to find out if this is a new band or one that has been around for years. Metal Archives says that the band started out in 2008, even though this is the debut album. It also turns out that guitarist Sebastian Görlach had a previous band that began in 2000. Thus, at least the guitarist definitely has substantial experience, if not all the rest of the band.

Décembre Noir has made a nearly perfect work for those that support in a major way the sounds of melancholic death doom, in the style of early Katatonia and Paradise Lost. I don’t like to make overly exaggerated claims, but the more I listen to the album, the more I am convinced that this belongs next to Katatonia’s “Dance of December Souls” and “Brave Murder Day” and Paradise Lost’s “Gothic.” I mention those classics for those that understand the heritage of this music. Nowadays bands like Daylight Dies, October Tide and Graveyard of Souls (also on FDA Rekotz) are more current points of reference.

As usual with this style, heaviness, class, elegance, melancholy and talent are defining components. For instance, the growled vocals have to be done appropriately. Décembre Noir’s growling is deep and gruff and flows with the music. It’s not annoying, which is important. The vocals are easy on the ears, yet still heavy, of course. It’s like this band knows what is heavy and good, and what is gimmicky and irritating; and I feel like I comprehend the band’s aesthetics. I am in agreement; others who listen will understand, too.

The guitar work has the death metal-ish riffing, but the band believes in making things interesting with

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Logically, the melodies are not sweet and cheery because that’s not what melancholy is. If the listener gives the album a real chance, the picture begins to emerge rather quickly: this guitar work means that the band has spent time working and reworking the songs, refining the songs until the desired quality is achieved. Mission accomplished. A must for the fanaticals of this style. Masterful. www.facebook.com/DecembreNoir www.decembre-noir.de The Wounded Kings (U.K.): Consolamentum (Candlelight Records) The Wounded Kings specializes in slow, depressing funeral doom, the kind that makes Tony Iommi seem like a speed metal blazing shredder. Sit down and relax because this will take a while and it is going to be slow, all day, every day. Depression, melancholy, funerals, cemeteries, loneliness and mourning; crawling riffs topped off with the (clear) singing of despair. I have been listening to this album a lot and I am ready for the end of the universe and it’s no problem because The Wounded Kings says everything is meaningless anyway. The Wounded Kings is cult doom metal strictly for fanatics of the genre, I think. It's an accomplished album. Believe. www.facebook.com/thewoundedkings www.reverbnation.com/thewoundedkings Iron Man (U.S.): The Passage (1994); Generation Void (1999) (Shadow Kingdom Records) (reissues) For those for whom doom is a passion and obsession, these two albums are classics of the genre, or at least for some people, “rare jewels,” as I have seen them called. Iron Man disguises nothing about its fanaticism: these songs sound like they were written specifically in the style of, say, “Master of Reality” and “Volume 4.” They are very much siblings to 70s Sabbath albums. Now, thanks to Shadow Kingdom Records, you have a chance to hear Iron Man, if you never have (Note that this band is very much alive today and in 2013 had an album called “South of the Earth.”). www.store.shadowkingdomrecords.com www.ironmanband.com Mournful Congregation (Australia): Concrescence of the Sophia (20 Buck Spin) No wonder that for some people, Mournful Congregation is acclaimed as one of the premier bands in the field of funeral doom. The essential reason for the acclaim could be that this melancholic funeral death doom gives the listener sad melodies and rhythms to remember. The band does, in fact, play at an excruciatingly slow pace, with no uptempo vibes at all, but the songs have a hypnotic, repetitive charm that encourages the listener to let the song go where it

compliment: just let it play until it ends. This recording is almost 31 minutes: one song is about 22 minutes and the other about 9 minutes. The misery pours out smoothly to the wonderfully slow melancholy of funeral doom. www.mournfulcongregation.com www.facebook.com/MournfulCongregation www.20buckspin.com www.facebook.com/20buckspin Nightfell (U.S.): The Living Ever Mourn (Southern Lord/Parasitic) How would it sound if black/death metal is slowed down to a steady uptempo pace? In other words, Nightfell has pulled the curtains behind the music and has decided to let people hear, really hear, the riffs, melodies and songs, without attempting to fool anyone with overwhelming speed and noise. That way, nobody says, “I really like the speed” and says other things that don’t mean anything. After all, lots of bands can play fast in all sorts of rock music. That’s the difference with Nightfell. Somewhere between melancholic doom (no core/no stoner) and the black/death metal vocals/guitar is where this music stands. The attention to detail to the songwriting is very noticeable. The band might not prefer these references, but if you like the somber aura of the first two Opeth, early Katatonia and early Paradise Lost, then you know that there is a certain melancholy in that music, and Nightfell has a similar aura. Here and there, shades of the metal’s past are traceable in certain passages, for instance, in “Empty Prayers,” you will hear a tribute to “Frost”-era Enslaved’s song “Yggdrasil” in the low-toned chant-like vocals, the repeated pick-scraping on the guitar, and overall atmosphere. Or, Nightfell’s interlude “I” recalls Bathory’s “Odens Ride over Nordland” in the slow atmosphere, the soft chanting in the background, and the glorious horses neighs (which might be sampled from Bathory). All of this says that there is a tradition of which Nightfell is mindful. Nightfell seeks initiated and acolyte listeners who are willing to answer the call for obscurantist melancholy. www.nightfell.bandcamp.com www.southernlord.com www.southernlord.bandcamp.com Chronos Zero (Italy): A Prelude into Emptiness (Bakerteam Records) Chronos Zero could be quite the discovery for those into quality prog metal with real singing. It sounds like Symphony X, Dream Theater and other highly regarded prog metal acts now have some fresh competition from Italy! Luckily, Chronos Zero is more than music for musicians. It’s prog and talented, but if I, the non-musician, can understand it, then I feel like other non-musicians probably can understand it, too. I enjoy a fair amount of prog metal, and I think that this band fits

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The riffing sounds, to me, a bit groovy/thrashy/chuggy so that gives the band a heavier feel than expected. The rhythm guitars play rhythm, not mini solos all over the place, but it seems to me that guitar aficionados should find much on which to feast their ears. This album lasts over an hour and it sounds like a concept album, although I don’t have the lyrics to confirm this. Overall, the album is one of those that goes for an epic, grand style; it’s probably safe to say that the band took a long time to write and record this album, which is its debut. The singing is strong-throated, traditional male singing. At the same time, the band makes use of female, high singing to contrast with the lower voice. Prog-friendly listeners that haven’t heard Chronos Zero would find the music a worthy subject of research. Symphony X and Dream Theater supporters, why not give this band a chance? www.chronoszero.com www.facebook.com/chronoszero Loudblast (France): Burial Ground (Listenable Records) Loudblast’s early recordings are from 1985, and the debut “Sensorial Treatment” (1989) stands at the line between thrash and death, while “Disincarnate” (1991) is full-fledged death metal. “Sublime Dementia” (1993) ups the level of musicianship. In short, Loudblast goes a long way back, from the 80s, 90s, to today, with a couple of pauses in action throughout that time. Loudblast 2014 is in its own world of death metal, with old and newer values coexisting. What really stands out, in my opinion, is the band’s refusal to be retro or to rehash “old school” riffs, while still working with a fairly traditional death framework. They are doing something right, challenging themselves and finding other ways to be death metal, other ways to be Loudblast. The band represents quality in death metal, maintaining a certain classic-style execution, while utilizing a rather modern production. The album is solid, memorable, and one that I recommend to those listeners that are a bit pickier about the genre.

Unfortunately, some reviews have said that the music is not too memorable or that there is something that doesn’t connect with the listener. Yet, the evidence shows that this is not the case at all: Loudblast is as catchy as can be: “Darkness Will Abide,” “Soothing Torments,” “From Dried Bones,” all show a band that is able to write compositions with direct impact. “From Dried Bones” demonstrates that they can bring melody in a big way whenever those passages are desired. They could make all the songs this way, which would make it all a formula of “melodic death metal,” but Loudblast is death metal, not “melodeath.”

On the other hand, a song like “I Reach the

melodic. But it’s the interplay between different sides of Loudblast, that’s where the fun is. Actually, “I Reach the Sun” goes into death metal mode in some segments and even has small touches of melody, so it’s not like it’s something strange. It’s too bad that the album has been received with such narrow expectations, but it’s not like Loudblast has gone off the deep end here. It’s still very much traditional death metal, with a few nods to different forms of modern metal. The vocals remain deep and gruff; the riffing says “death metal” heavy on it; the soloing is enjoyable; and the skills and experience of the band are obvious. The people in Loudblast know what they are doing; they are not new to this game. I’m pleased with this album, and will definitely keep it in the library for future listens. Personally, I trust that the old man Stéphane Buriez and company know themselves, so I’m not going to dismiss the veterans as if they are some new-jack band in town, especially when the work has so many positive aspects, and virtually nothing about which I can complain. www.loudblast.org www.facebook.com/Loudblast.official?fref=ts Overkill: White Devil Armory (rated: 7)

(contribution by Jojo from Fuglymaniacs.com) At last here we are again, Overkill has arrived. Any metalhead will tell you that a serving of thrash is essential for a great fugly diet. No better band to do that with than Overkill. After knowing what I want and expect from these guys the bar is set pretty high, especially after “The Electric Age.” Needless to say, they have delivered as to be expected. The production is great. The album is heavy, aggressive and fast at times, but it does have a lot of midtempo structure. The best part is Bobby Blitz Ellsworth’s vocals. This bastard has not lost any of his power, clarity and shows no sign of slowing down. His rage and disgusted screaming shines through the heavy riffs and demands your undivided attention. Listen to “Pig,” for instance.

This release however, does not make the top ten Overkill as some have suggested. Here is why I say that. Dave Linsk (lead guitar) & Derek "The Skull" Tailer (g) are not holding up their end. The riffs sound stale and uninspired and lead solos don't sound good, in fact, they sound out of place, ex. “Bitter Pill.” As if it's in there just to fill a void. Bobby & DD are towing this album together and Ron Lipnicki does a good job keeping up. High points are “XMD,” “Armorist,” “Down To The Bone,” “Pig,” “King Of The Rat Bastards.” Overall, is an Overkill release and they do what they do well. Look at it this way, now they have a reason to hit the road and come to a city near you. Now, where is my “Horrorscope” cd! September 13, 2014