Keep of Kalessin belong to the second wave of Norwegian Black Metal bands who had tried to conciliate the traditional legacy of Emperor and Mayhem with some irreverence characteristic of someone who intends to go beyond the rigid limits of Black Metal. Although they are not adventurous as Arcturus or Borknagar, they successfully introduced some new elements and epic melodies clearly stepping away from the loyal followers of the so called true Black Metal. Curiously, this attitude only gained them some notability on their third album “Armada”. Considered as one of the best Black Metal albums of 2006 by critics and fans, “Armada” only sinned for not having the support of a strong record label capable of pushing Keep of Kalessin into new heights.
Something that will likely change with the new work “Kolossus”, which marks the beginning of a new union with the Norwegian record company Indie Recordings that in turn licensed the album for the gigantic Nuclear Blast.
Although it seems a less immediate work at first spins, “Kolossus” is definitely a truly colossal record. The differences between this new album and the previous one “Armada” aren’t that many, perhaps “Kolossus” is a bit trashier and more progressive, but rest assured ‘cause the epic quality that characterized “Armada” continues to be present here. Themes like “The Rising Sign”, “Escape the Union” and “Kolossus” prove that the Norwegians possess a great talent to produce epic and memorable songs.
“The Rising Sign”, for example starts with a mid-tempo trashy riff before exploding into a ferocious and fast rhythm with an extremely fast double-bass work that only rests when the melodic and captivating chorus steps in to later on culminate in a gentler and symphonic ambient.
“Escape The Union” is also a diverse song, it sees the band alternating between mid-paced and fast rhythms and offers a very melodic and excellent guitar solo while classic guitars are playing in the background.
The title theme is excellent as well, perhaps the most symphonic piece of the all album it has an almost cinematographic atmosphere and shows a beautiful classical guitar passage and a tribal percussion work.
Vocalist Thebon seems perfectly adjusted to the band and his vocal performance is absolutely great. His voice constantly adapts to the diverse changes of rhythm and ambient, without ever losing it’s aggressive tone and maintaining an incredible perceptibility.
“Kolossus” is an excellent work that will certainly catapult Keep of Kalessin into the forefront of Black Metal. (8/10)

Band info: www.keepofkalessin.no
Label info: www.nuclearblast.de

The amount of Metal bands coming from Finland nowadays must be proportional to the amount of lakes existing in that country and although they are not exactly newcomers, this is my first contact with these Finns called Diablo. Voices coming from the north suggest that these gentlemen are quite known in their home country, with enormous sales figures and great support slots to big bands like Metallica, however I’d bet most you are also in plain dark.
“Icaros”, not being a phenomenal and innovative album, is a pleasant surprise that will certainly please fans of Sentenced and Am I Blood. Their capacity to cover distinct styles such as Heavy and Thrash Metal results in a diverse work, cleverly balanced between aggression and melody.
Try to imagine a less melancholic Sentenced with a more aggressive and straightforward approach or a dirtier and distorted Am I Blood and you’re close to having an idea of how Diablo sound like in their fifth full length album. Curiously, Sentenced and Am I Blood are two bands whose sonorities have strong influences from Metallica and Diablo do not escape the influence of the creators of “Masters of Puppets” either. Diablo’s effort to mix heavy and catchy riffs with epic melodies and a certain groove reminds of mid-period Metallica on some occasions, especially in the theme “Resign From Life”.
Elsewhere, “Icaros” is divided between aggressive and heavier moments like “Living Dead Superstar” and “Through Difficulties to Defeat” and more melodic and relaxed moments like “Chagrin” and “Into the Sea”.
For those who still mourn the demise of Sentenced, here’s a very interesting and entertaining alternative going by the name of Diablo. (6/10)

Band info: www.diabloperkele.com
Label info: www.sakararecords.com

North American bands exploring desolate and depressive sonorities like Doom Metal are scarce and only appear on very sparse occasions. The musical genre is recognisably a style of music embraced by European acts, mostly from Scandinavia, even though the contribute of some US groups like Winter and Morgion has been vital for the evolution of the genre. Daylight Dies for what already had produced in the past and offers on their third full length album “Lost to the Living” deserves to see its name enclosed in this short list. Mature in its approach to the conjunction of bleak melodies with dissonant heaviness, complex without however being too much technical, diverse and replete with rich textures, “Lost to the Living” is simply a phenomenal work capable of rivalling with the best moments Opeth and Anathema have offered so far. These two names do not get mentioned by chance. Although Daylight Dies possess their own and recognizable sound, they represent the closest reference points to musically situate “Lost to the Living”.

Just like the Swedes Opeth and the Brits Anathema, the quintet employ the use of acoustic guitars to enrich the themes with a melancholic and emotional atmosphere, gaining some progressive characteristics in the process, but not going as far as Opeth does obviously. “Wake Up Lost” for example, is a song that brings to memory the gentler compositions of Mikael Akerfelt, a slow paced and melancholic piece that offers various acoustic interludes. The clean singing of bass player Egan O'Rourke also increases the similarities between the two, even if it strangely evokes the more contemplative moments of Layne Staley.
“Last Alone”, another theme sung entirely by O'Rourke is quite atmospheric, almost Pink Floydian in style that somehow invokes the spirit of Anathema around the “Judgement” days.
The calmer and orchestrated passages are a constant and brilliantly counterbalance the more aggressive and dissonant moments offered by the excellent and skilful work of guitarists Barre Gambling and Charley Chackelford. The lead guitars are also a dominant characteristic of this album as it happens in songs like “A Portrait in White”, “A Subtle Violence” and “Descending”. Without weak points, “Lost to the Living” is an album that grabs our attention from the very beginning to the end, without ever feeling tempted to press the skip forward button. Excellent work! (8/10)

Band info: www.daylightdies.com
Label info: www.candlelightrecords.co.uk

Welcome to the creepy and horrific world of Calabrese, a trio from the United States whose sonority circulates around bands like The Misfits, The Cramps and The Damned. In other words, a vigorous and melodic punk-rock sound inspired by those lovely 70’s horror movies, many of them performed by the legendaries Christopher Lee and Vincent Price. Do you remember those?
Curiously, Calabrese are three blood brothers consisting of guitarist and vocalist Bobby, bassist Jimmy and drummer Davey and “The Traveling Vampire Show” is already their second effort following an apparently well-received debut called “13 Halloweens”, which unfortunately never arrived to these ears.
These 12 songs about vampires, werewolves and other demonic creatures featured on “The Traveling Vampire Show” are goddamn infectious, it’s impossible to remain indifferent to the energetic rhythms and melodic and sing-along chorus that Calabrese so masterfully crafted. From its punchy riffs to the shouty choirs and samples of 70’s horror movies, the band’s homage to The Misfits, the creators of this musical strain is quite obvious. However, Calabrese are smart enough to prevent accusations of plagiarism. First, they are skilled musicians and don’t base their songs on merely three chords, secondly they posses an enormous talent to write contagious riffs and chorus. An ability Jerry Only seems to be losing throughout the years.
Calabrese’s “The Travelling Vampire Show” is a spooky and remarkable performance that I strongly recommend the punk-rock fans to attend. (7/10)

Band info: www.calabreserock.com
Label info: www.abstractsounds.co.uk

Early 2009 is going to see a new release from Italian combo Allhelluja, who features in their ranks Danish and ex-Hatesphere vocalist Jacob Bredahl. Entitled “Breath Your Soul”, the successor to their highly successful album “Pain Is The Game” has the particularity of being the first without guitarist and founding member Massimo Gajer, who left the band last September.
Although the loss of one of their main composers could be seen as a major setback, drummer and Scarlet Records owner Stefano Longhi reassures us that Allhelluja have lost none of their intrinsic power and bone-breaking groove and the upcoming venture will be regarded as their best one ever. Read more…

Allhelluja is currently recording the follow up to their critically acclaimed second full length work “Pain Is The Game” from 2006, an album that was voted by the readers of the Italian version of Metal Hammer as the best Italian Album of 2006, surpassing releases like Lacuna Coil’s “Karmacode”. Were Allhelluja overwhelmed with the incredible reactions garnered by “Pain Is The Game”?

“I must say that everything that's happening around ALLHELLUJA is always a big surprise for me. I really believe that we're walking our own way without any aim and desire of success. We're just playing our music, that's all. Our music comes from inside, nothing is planned and each song is like a 'circle' in which you can find different emotions. I'm very happy and of course I’m excited to see all these amazing feedback around the world. It's incredible!!!! We got fantastic reviews everywhere in the world and also in countries not so 'easy' if you know what I mean, like UK, Japan and USA. I'm very proud and the result we got in the METAL HAMMER Italy-readers poll is something I never expected! It makes me think that maybe ALLHELLUJA is playing music for people with different tastes and we can match together many different listeners without losing the real identity of the band. We're ALLHELLUJA! That's my goal. When people will say something like 'Yeah... this sounds ALLHELLUJA' I will say: 'Ok this is my personal success'!”

“Pain Is The Game” have also earn the respect of some well-known figures of the music scene like Amen's Casey Chaos and Mr. Henry Rollins, how do you reacted to such positive remarks?

“It went in this way. I was in my office and the phone was ringing. A colleague of mine took the phone call and... 'Hey Stefano it's Casey from the States'... uhmmm... ok, Casey who???? Let's take this phone-call... 'Hey Stefano, I’m Casey Chaos from Amen'.... OH MY GOD!!!!!!! I was without words! He just called me to say that ALLHELLUJA was a great band and also that he got both albums and he got the chance to listen to the band together with other friend and with.... Henry Rollins and he liked ALLHELLUJA too very much! YEAHHHHHHHHHHHHH!!!!!! Oh, that day was so fuckin' great, something special, a special gift for me! Then Casey phoned me again a few more times and now we're in touch and sometimes we exchange some messages and cool words!”

As mentioned before, the band is currently in the studio recording the successor of “Pain Is The Game” entitled “Breath Your Soul” how are the new songs shaping up and how do they stand against the previous works?

“ALLHELLUJA-style! hahaha! I think this new album is more mature. It will make the difference! I didn't want to do another 'Pain Is The Game' so it will be different with the same impact but with various arrangements and more pathos. It will be around 65 minutes long, so there will be MORE music, more stuff to listen to and more things to go through.”

The new album has the particularity of being the first recording without founding member and guitarist Massimo Gajer, how did the departure of Massimo affected the band and the song writing of the new album?

“I prefer not to talk about people that are no more involved in ALLHELLUJA. It's a matter of respect. I don't want to be misunderstood. I can only say that people are growing up in a different way and with different experiences. I just was very tired to wait for Massimo. ALLHELLUJA needs energy and passion ALL THE TIME!”

However, I understand the band has no intention of replacing Massimo for now, so who is recording the guitars for the new album? Will the band search for a permanent replacement after the recordings of the new album?

“The guitars are already recorded!!!!! Hahaha!!!!! It's not the right time to announce the new guitar player. I still don't know if he will be a permanent replacement or not. He's the best Italian guitar player and he also play in another VERY IMPORTANT Italian band. He's the core of his band. Friendship and respect first, then ALLHELLUJA-time... hahaha!!!

Let me ask you about the significance of the title “Breath Your Soul”?

'Breath Your Soul' is just a way to say: stop for a second and try to go down in your inner self.
Many things will happen after....”

The album will include 15 themes, between them are 3 covers: King Crimson’s ‘21st Century Schizoid Man’, Black Sabbath’s ‘Into The Void’ and Goblin’s ‘Profondo Rosso’. What made you pick up these songs and give them an ALLHELLUJA treatment?

“It was a challenge and a great experience especially 'Into The Void' and 'Profondo “Rosso' that are linked together. I love the result!!!! It's crazy!!!!! HEAVY AS HELL!!!!!

“Breath Your Soul” will once again portray the artwork of renowned artist Chad Michael Ward (Marilyn Manson, Fear Factory, Soil). Have gave him some clues this time or you’ve just picked one of his works?

“Again, I see an image and I said 'THIS IS PERFECT'! Chad is unique and he's into ALLHELLUJA mood all the time!!!! He also did the video for the song 'Superhero Motherfucker Superman' and he did a MONSTER-VIDEO!!!!! He's one of the best artists around! THANX CHAD!”

Are there any tentative release dates for the new album already scheduled?

“Not yet. But I think around January-February 2009.”
More info at: www.allhelluja.com

Ireland’s Mourning Beloveth are probably one of the most underrated bands of the Metal scene and the biggest impediment that confined their career to the restrict limits of the underground is attributed to their difficulty in securing a suitable house capable of giving the band a bigger and better projection. All the works of the quintet had been issued by different record labels so it was with some surprise that I noticed that the fourth album “A Disease for the Ages”, just like its predecessor “A Murderous Circus” bears the stamp of the German label Grau.
Perhaps it was such stability that allowed the group the chance to construct an album in all ways stronger and more captivating than “A Murderous Circus”, perhaps their least accomplished work to date. The recipe is the same, depressive and epic Doom-Metal, however “A Disease for the Ages” follows a similar path explored in “The Sullen Sulcus” with elaborated arrangements carried out by guitarists Frank and Brian, who constantly pour heavy and depressive riffs and melancholic melodies. As usual the cadence is slow and crawls at the rhythm of a funeral march and together with the growling and grieving performance of vocalist Darren it gives these five themes an atmosphere of desperation and desolation. The clean voice of guitar player Frank also deserves a mention since it adds a more classical touch to the sound of the band bringing to mind on some occasions bands like Solitude Aeturnus. The second song “Trace Decay” clearly enhances the contrast between the two diverse vocalizations and the results are splendid.
For those who yet haven’t had the chance to listen to Mourning Beloveth, the best reference points would be the initial steps of My Dying Bride and Anathema mixed with some classic Doom-Metal ala bands like Candlemass and Solitude Aeturnus. “Primeval Rush” for instance, has the My Dying Bride influence displayed to the maximum, but not to the point of plagiarism.
“A Disease for the Ages” is a very interesting work that deserves all your attention, independently of your state of mind at the moment. (7/10)

Band info: www.mourningbeloveth.com
Label info: www.grau.cd

Veterans of the underground, Ireland’s Mourning Beloveth had recently issued their fourth full-length album entitled "A Disease for the Ages", which once again confirms their status as one of the most important Doom-Metal bands of nowadays gained throughout 16 years of arduous work, persistence and numerous adversities.
Vocalist Darren Moore shed some light into the bleak darkness surrounding "A Disease for the Ages", read more…

"A Disease for the Ages" sees Mourning Beloveth return to a more elaborated and multi-layered sonority, largely due to the remarkable dueling of guitarists Frank Brennan and Brian Delaney, constantly crafting out slow and miserable riffs interspersed with bleak harmonies.
A characteristic that was prevalent on their enthralling second full-length "The Sullen Sulcus" and much missed on the predecessor "A Murderous Circus". What prompted this change of direction for a more demanding and diverse song writing?

“Well with “A Murderous Circus” the guitars were very desolate and empty but that was a necessary move for us at that time, the songs needed that sort of production and it was the same this time round, we try each time just a few small tweaks in the sound to create the atmosphere, we aren’t going to re-invent the wheel so…I think the more layered guitar sound was one of the few conscious decisions we made before we went into the studio this time and everything else just happens from us knowing what we want and what we need. I think the songs demanded a heavier production this time to have an overall sense of suffocation, of being in the thrall of ecstasy but at the same time having the life sucked from you.”

Previous record, "A Murderous Circus" generated some mixed reactions since its more streamlined and harsher sonority wasn't enthusiastically received by fans and press, who preferred the wider bleakness of "The Sullen Sulcus".
Did you take such observations regarding "A Murderous Circus" under consideration?

“No, as I have said many times before to people and it may sound ridiculous but we write what we want to hear, if we are not happy with it then there is something wrong and we should not be doing it. We construct and deconstruct the songs so many times at rehearsals that in the end everyone is 95% happy so when we get criticisms from fans, friends, journalists , whoever we take it on the chin, tell them our position and gently say a “fuck you”…in the nicest possible way…”

As musicians do you fell pressured or somehow limited due to the strict boundaries of a rigid style like Doom Metal and the almost nonexistent tolerance from fans for improvements?

“We write what we write for ourselves and when we are happy we record and release, as I said we are not going to re-invent the wheel we make small tweaks to our sound and writing each time we are recording an album, we are our own harshest critics and there is plenty of discussion, ripping apart and gluing together of songs and ideas before we eventually record. The only pressure we have is from ourselves.”

So what are the chances or danger of Mourning Beloveth producing a "34.788%...Complete" then?

“None, not one member is interested in electronica, we are metalheads through and through…anyway I think some other band used that name before.”

"A Disease for the Ages" evokes images of a miserable and anguished environment with little space for hope or joy, musically dragging us into a mournful and melancholic state of mind like any true Doom Metal work should do. Given the band hails from a small and Anglo-Norman town called Athy in the County Kildare, Ireland to what extent are your songs molded by the landscapes of your hometown?

“Ha…yeah we hail from the Anglo Norman town of Athy, stuck in the middle of somewhere and at the edge of nowhere where people drift through but nobody stays, the town is a bleak one factory town and it has probably helped us in our siege mentality towards our music, we were able to start and create our own sound without outside influence due to our isolation and there is a spirit in us of resilience, some call it ignorance, some stubbornness but we have not changed much from the band we were when we started still ploughing our own path of misery through the bleak and empty fields around Athy…come to visit and you won’t stay…”

"A Disease for the Ages" was once again produced by Markus Stock at Studio E in Germany, who granted Mourning Beloveth's sonority a gloomier and harsher edge.
Are you happy with the end results?

“It is exactly what we wanted, we wanted the harshness of the last album but the layered guitars of “The Sullen Sulcus" and I think we got it, Markus knew our sound from “A Murderous Circus” and so it was easier work this time round, also the fact that we were a lot more prepared this time round and so we only spent two weeks in the studio compared to three last time, we were a lot more focused and I think it comes through in the songwriting. Markus is known for his early work with Empyrium and lately Secrets of the Moon and his own band The Vision Bleak and so we knew exactly what we were doing when we went to Studio E, a cold, almost clinical style of production pair that with our sloppy playing and you have "A Disease for the Ages" hahah.”

The album also signals the debut of new bassist Brendan Roche, how is he adapting into the band's sonority and working schedules?

“Yeah he is like the sore thumb on a hand of sore thumbs. We knew Brendan for a long time, his ways and misdemeanors as he did ours so he is just like another infected sore on the body Mourning Beloveth, his dedication is without question, traveling 120km round trip to rehearsals every week without much complaint, it is like he has always been there and he should be with us as long as we are around.”

What are the future plans for the band; I understand you had to cancel a European tour due to personal problems?

“Yeah it was the first time we had to cancel a gig, let alone a tour and it was a hard decision but a necessary one and the other band members agreed with the decision. We will be playing Day of Darkness in Ireland on 6 July, Metal Maniac fest in Romania on 26 July, 6 September sees us in Lithuania at Ferrum fest, 20 Sept in Belgium at Façade of Funeral fest and then a tour in October for 10 days.
We will also be releasing Dust on vinyl in the coming months and a special split 10” with another Irish doom band is in the offing.”

Check out www.mourningbeloveth.com for more info.

Nuclear Blast’s artist Communic might hail from the world capital of Black Metal, but their songs don’t dwell in those too-very-often mundane subjects like walks in the woods and the Devil worship. Quite the opposite, in fact, as Scratch the Surface have discovered from drummer TOR ATLE ANDERSEN, when we’ve recently sent him a few questions regarding the upcoming third album “Payment of Existence”. Find out more…

Communic is a Heavy/Power Metal trio from Norway, a country renowned for being the world capital of Black Metal, whose elitist posture showcased throughout the years a zero tolerance towards other genres of music.
What is it like being a Heavy Metal act from Norway, the birthplace of legendary Black Metal bands like Mayhem, Darkthrone, Arcturus, Dimmu Borgir, etc?

“Actually it is very good to be a metal band from Norway, it’s a good metal scene here even though it’s mostly extreme metal bands here. I think that Norway is ready for some other metal bands besides all the extreme ones, and by that you can see that there are more and more metal bands here that is experimenting with other styles of music and trying to get their own sound. I think that it’s a positive thing that we have bands like Dimmu Borgir here to show us that you really can leave a mark in the music industry, even if you play heavy metal like we do..."

Have you faced some type of adversities when you started out due to the fact that Communic have ventured into a style of music not exactly popular in Norway?

“Not exactly, I think that the metal scene in Norway was ready for some fresh bands besides all the extreme ones. The media here in Norway has always been good to Communic due to the fact that we are not an extreme band. And it seems like the metal scene here now is ready for some bands that is taking it all to the next level, and proving that there are no boundaries in the way of producing good quality metal.”

Indeed, the Norwegians have established themselves as one of the most exceptional and promising bands circling within the Heavy and Power Metal fields and their first two releases “Conspiracy In Mind” and “Waves Of Visual Decay” were extremely well received by the press and the metal community.
Meanwhile, Communic are about to release their highly anticipated third full-length work entitled “Payment of Existence” that hopefully will cement their position in the music scene even further. What kind of expectations do you have for the new album?

“I have really high expectations for this album, I think that everyone in the band has drawn themselves further as musicians and proved that we have no limits in the way that we make our music. Personally I think that this is the best album we have made so far and the variations in the songs are very clear, this is the Communic way of making music so hopefully this will bring the band to the next level.”

In your opinion what are the main differences between “Payment of Existence” and its predecessor “Waves Of Visual Decay”?

“I think there are more “easy” listening parts on this album with all the melodic stuff and less of the progressive parts. This time there are more melody lines in the songs that make it easier to get an impression of the whole song instead of just mark out some single themes. The production of the album is also a contributing cause to lifting the band to higher level as well as there is a higher quality in all of the songs.”

“Payment of Existence” was like previous works produced by Jacob Hansen at Hansen Studios in Denmark, what was it like working with the Danish producer once again and did he add anything new to the table for this record?

“Jacob Hansen is amazing to work with, even though I had to record all my drums in another studio here in Norway (due to my private work situation) he managed to create the sound that’s perfect for Communic. This time we had a Danish musician to put on some keyboard that was recommended by Jacob, they were both very professional and very relaxing to work with. Jacob didn’t add anything to the music, but when it comes to the sound production he just rules...
We are very satisfied with the work Jacob has done on this album.”

The cover of “Payment of Existence” drawn by Jan Yrlund depicts a red-haired woman sitting in a couch in the middle of a city reduced to ashes, a ground zero environment so to speak. Did you give the artist some kind of concept to work with?

“The only thing that Jan Yrlund got from us was the lyrics for the album.
He then started working with the cover based on what his impression of the lyrics is. Yrlund completes it all with making a cover for us that surely fits the theme and the atmosphere of this album perfect. This is definitively the best artwork Communic has had so far, and we are very satisfied with his work.”

Judging by the album title and the decayed scenario its cover portrays, would it be legitimate to assume there’s a lyrically concept behind “Payment of Existence” that deals with the price mankind is paying for its development?

“All the lyrics are written by Oddleif so this it would be wrong of me to go into the depth of the lyrics. I know that the lyrics are very personal for him so I think that it has to be up to the listener to try to find a connection between the world today and the lyrics on this album.”

Nevertheless, I’ve once read that the band is influenced by daily life and things that are broadcasted through television, which as we all know sometimes can be deceiving. It’s a powerful media tool that can manipulate public opinion, camouflage certain aspects of reality and denunciate others like the oppressions lived in Zimbabwe and Union of Myanmar. What’s your opinion on the matter and in what ways is the band influenced by the strange occurrences and calamities happening in the world?

“Well as I have mentioned earlier Oddleif is writing all the lyrics for the band, but I mean that every man born on this earth is entitled to have their own meanings and the right to speak freely regardless to their government and their rules…
As you already mentioned television is a powerful media and you can’t believe everything that is sent through here, then it’s even more important for everyone to have their own meanings and independence. This is a thing that we are engaged by and most probably it’s here the band gets that influence…”

Following the release of “Payment of Existence” what are the plans of the band?

“Well, hopefully there will be a tour to support the release and maybe some more festivals during the summer. But right now we are just focusing on promoting the album even further than the two previous albums, so hopefully this album will take band up to a higher level within the metal scene…"

"Payment of Existence" is already available through Nuclear Blast Records.
More info at: www.communic.org