Their name says it all–Gorefest. Gorefest is a long-running Dutch death metal band that plays death metal they way it used to be played. Chock full of grooves, dynamics and memorable lyrics, their new album, Rise to Ruin (review), is about as brutal and heavy as it gets and makes all these newer genre-bending bands seem almost insignificant after one listen.
Forming in the Netherlands way back in 1989, Gorefest had a strong run of death metal releases before shifting styles and eventually parting ways in 1999. Luckily for the metal world, the band–vocalist/bassist Jan-Chris De Koeijer, guitarist Boudewijn Bonebakker, guitarist Frank Harthoorn and drummer Ed Warby–reunited in 2004 and have released two more albums, returning to their original brutal style of no-nonsense death metal. Jeff Maki of Live-Metal.net talked with Frank Harthoorn about the new album, the band’s break-up and reformation, and all things death metal. (more…)
Yet another formidable band has emerged amid the recent thrash metal revival. The UK’s Evile plays thrash like it’s the early ’80s, armed with a vocalist who worships Tom Araya and James Hetfield, and an album that is the heir apparent to Metallica’s Kill ‘Em All. With searing solos and riffs molded to perfection, Enter the Grave is the bastard son of Metallica and Slayer. The promo CD indicates Evile is “the return of heads down, no nonsense thrash metal,” and that is an accurate description. Hell, Enter the Grave was even produced by a familiar–if not legendary–name in metal, Fleming Rasmussen, who was responsible for Metallica’s Ride the Lightning and Master of Puppets. (more…)
What do you get when you have a band of former members of Norwegian black metal titans Dimmu-Borgir with bands such as Machine Head, Pestilence and Slayer? You get Susperia, one of the standout thrash metal bands in recent years. Their new album, Cut from Stone, builds on elements from their best-selling album, Unlimited, which featured the breakthrough songs “Chemistry” and “Devil May Care.” Cut from Stone (review) takes Susperia’s sound to a new level while retaining an accessibility that is uncommon among today’s metal bands.
Jeff Maki of Live-Metal.net talked with Susperia’s bassist, Memnock. He tells us all about the new album, the band’s relationship with Dimmu Borgir and, last but not least–whatever you do–don’t say Susperia sounds like Testament! (more…)
In These Veins is a lethal combination of extreme metal, hardcore, punk and good ol’ rock n’ roll. Live-Metal.net recently talked with Max Thornell about the band’s raw sound, their current relationship with Arch Enemy and, of course, the new album. (more…)
Review by Greg Maki
Your opinion of Demon Hunter likely will be influenced heavily by how much religion you want in your music. I don’t like to be beaten over the head by someone else’s beliefs, but there’s something refreshing about the frankness with which Demon Hunter presents its Christian faith. When so many other bands hide from the “Christian” label, the members of Demon Hunter appear on the back of their fourth CD, Storm the Gates of Hell, dressed as reverends. (more…)
Review by Greg Maki
Nonpoint emerged with the nü-metal crowd early this decade, but with the dust long settled on that forgettable scene, here they are, still touring relentlessly and serving up studio album No. 5. Stronger songwriting than their one-time peers and an obvious passion for what they do have carried them on a career spanning 10 years and counting.
Vengeance follows 2005’s To the Pain, which, propelled by the searing single “Bullet with a Name,” became the band’s biggest success to date. During that cycle, they also reached an entirely new audience with the surprise hit “In the Air Tonight,” a Phil Collins cover from the Miami Vice soundtrack (originally appearing on Nonpoint’s 2004 release, Recoil). It’s an audience they apparently have no interest in catering to, as Vengeance rocks hard from start to finish. Though it doesn’t match the aggression of To the Pain, there is only one borderline ballad among its 12 tracks. With the nü-metal angst starting to fade, a strong classic rock influence emerges on a handful of songs, most effectively on “Bring Me Down” and its big, ‘70s-style riff from guitarist Andrew Goldman.
Overall, the changes are slight; the entire album sounds unmistakably like Nonpoint. There is plenty of Elias Soriano’s raspy, melodic voice, Goldman’s swirling riffs, KB’s grooving basslines and Robb Rivera’s rhythmic drumming. The album is full of quality Nonpoint tracks: the fist-pumping concert anthem “Wake Up World”; the up-tempo title track; the first single, “March of War,” which is vaguely reminiscent of Sevendust, one of Nonpoint’s frequent touring partners; and “Hands Off,” which recalls the band’s original breakthrough single, “What a Day,” with its driving rhythm. Nothing breaks new ground, but why is that necessary? Nonpoint didn’t stray from what they do so well when they went through label changes and sagging album sales, and the result was To the Pain, arguably their finest effort. No reason to change the formula now.