Veterans Benediction had been away from the studios during seven long years, however when hearing the new work “Killing Music” I get the impression that the Birmingham quintet haven’t forgot how to write a straightforward and brutal theme in a true old-school Death-Metal style. It’s as if it only passed a mere year from their sixth record “Organized Chaos” from 2001 since it sounds like Benediction possess some kind of immunity or vaccine against the trends of the last few years.
The sound of “Killing Music” is direct and brutal, a mixture of old Grind, Death-Metal, Crust, Punk and why not include Hardcore, after all drummer Neil Hutton is a former member Stampin’ Ground and the influence of the style is evident on certain moments of the album. The absence of guitar leads is one of the characteristics of the new record, (well the cover of Broken Bones “Seeing Through My Eyes” is the only exception) guitarists Darren Brookes and Peter Rew prefer to concentrate their efforts on catchy, fast and intense riffs sounding like a fierce attack from the artillery of the British Army.
The remaining members don’t stay behind in terms of delivery and intensity either, the rhythmic section featuring bass player Frank Healy and the already mentioned Neil Hutton is simply solid and devastating whereas vocalist Dave Hunt of Anaal Nathrakh grunts and growls like a furious demon, hear the theme “The Grey Man” to testify such immense brutality yourselves. Or then, hear the track “Controlopolis”, he sounds like Barney Greenway on the verge of a fury attack.
“Killing Music” has its flaws, the fact that it last for 45 minutes looks somehow exaggerated since there’s little variation between the songs and the words “annoyance” and “boredom” tend to spring to mind after the eight theme.
Nevertheless, with almost 20 years of career behind them, the Brits don’t demonstrate any signs of fatigue or discourage and “Killing Music” is a good example of how to write a brutal and direct Death-Metal work without sounding out of its expiring date. (6,5/10)

Band info: www.myspace.com/benedictionuk
Label info: www.nuclearblast.de

Natchmystium are perhaps the biggest North American group gravitating towards the Black-Metal scope in the last few years, though I’ve always considered them to be a little overrated and never quite understood all the attention channelled into a banal Black-Metal act that records in a bedroom closet and only occasionally veers into some Progressive territories.
However, something has changed with the new album “Assassins: Black Meddle Pt. I” since Natchmystium has completely broadened their horizons beyond the conventional Black Metal sonorities not only by boldly and shamelessly incorporating Psychedelic and Progressive elements from the 70’s, but also by improving their execution and production skills. The inclusion of the fantastic Tony Laureano (Nile, Angelcorpse and Dimmu Borgir) as session drummer and Parker Sanford (Minsk, Yakuza, Rwake and Pelican) as producer were definitely precious acquisitions.
“Assassins” is an album that in many ways defies the rules of the so called trve Black-Metal, their approach is innovative and singular as if we are dealing with a complete reinvention, but at the same time it’s more accessible than previous works.
The admiration that Natchmystium’s mentor Blake Judd nourishes for Pink Floyd is perfectly perceivable, not only through the obvious choices of the album title and the opening theme, but through the atmospheric instrumentals and psychedelic and trippy passages of some songs as well. The opening track “One of These Nights” is one of these instrumentals, it starts with a wind sound close to a Space-Prog style that later introduces a laidback riff that serves as introduction to the «real» theme “Assassins”, an onslaught of a more traditional Black-Metal style with a fast and aggressive rhythm and some screamed vocals in the chorus. “We Are Nothing, We Fell Nothing” shouts Judd in a furious, catchy and quite unusual tone for the Natchmystium mould. The title-track finishes by recovering the atmosphere that initiated the album, a psychedelic and relaxed Spacey-Rock. The following song, “Ghosts of Grace” is truly memorable, with an almost up-tempo rhythm it shows guitarists Judde and Jeff Wilson delivering some really contagious melodies that posses a certain 70’s Rock groove. “Ghosts of Grace” is without a doubt my personal favourite.
Throughout the remaining songs, Natchmystium alternates between a more aggressive and dirty approach like for instance in the intense “Your Enemy” and the fast and rude “Omnivore” and a more relaxed experimentalism like in themes as “Code Negative” and the trilogy “Seasick”, where the influences of Pink Floyd possibly reach their highest peak.
“Assassins: Black Meddle pt I”, is a work that will not please all Natchmystium fans, the more conservatives ones have possibly already turned their backs to the new tendencies explored by the Chicago group. However, it is definitely a work that will conquer new followers, like those who like their music adventurous and unpredictable. I for example am already converted to the cause. (8/10)

Band info: www.myspace.com/nachtmystium
Label info: www.candlelightrecords.co.uk

The re-recordings of their first EP “Under Satanae” last year could foresee that Moonspell would be inclined to return to their origins rooted in Black-Metal on their upcoming album “Night Eternal”, something that long standing fans who had lost some enthusiasm for the Portuguese band when they embraced Gothic sonorities on the releases following “Wolfheart” would definitely appreciate.
Well, those people disabused by the idea that Moonspell would eventually step back into their past should know that “Night Eternal” is essentially a record that incorporates all the well-known characteristics of their entire career. From the raw Black-Metal of their “Wolfheart” days reflected in songs like “Moon In Mercury” to the Gothic-Rock of albums like “Irreligious” and “Sin/Pecado” present in “Scorpion Flower”, all the paths the group have crossed throughout their existence are revisited here.
It’s an album replete with superb condiments, cleverly concise and focused and perfectly balanced between a thundering brutality and a gracious melodic elegance that reveals a greater emphasis on the guitar work. The riffs casted by guitarist Ricardo Amorim possess a fierce viciousness yet at the same are amazingly catchy and every now and then he indulges in some truly memorable leads that have a certain classic Heavy-Metal vibe.
Maintaining some creativity and artistic focus along with a mixture of good taste throughout eight albums is an extraordinary accomplishment and “Night Eternal” is without any doubts an excellent album, one of the best Moonspell ever made. (8/10)

Band info: www.moonspell.com
Label info: www.spv.de

The search of new a Dissection seems to have ended following the death of its leader Jon Nodtveidt and consequent farewell of the legendary Swedish group. Obviously these are different times and somehow the spot left vacant by their demise seems impossible to fill, however I think Undivine, a group led by members of In Aeternum and Isole would be a worthy candidate to such position.
Essentially, Undivine had been able to capture the spirit of Dissection circa-the mythic “Storm the Light's Bane”, a well-balanced blend of Black and Death-Metal elements with special relevancy for the great guitar work of Erik Kumpulainen that confers these eight themes a certain melodic sombreness.
A touch of old Ophthlamia can also be heard in the sonority Undivine, especially in the catchy and mid-tempo opening song “My Silence”, perhaps the most accessible and melodic theme of the all album with some truly memorable guitar harmonies. The remaining tracks recalls us of the already mentioned Dissection like for instance in “And the Word Was War” and in certain occasions also their compatriots Necrophobic, especially on the faster moments. There’s a great variation between fast rhythms and slower ones throughout “A Deceitful Calm” and although it’s not very recurrent, drummer Jonas Lindstörm from Isole even tries out some blast beats on “The Cleansing”, a fast song in the style of the most vile and grim Scandinavian Black Metal.
Apparently the Swedish group is already on the final stages of completing their second full-length album and judging by the quality of the first sample, something tells me the best of Undivine is yet to come. (7/10)

Band info: www.undivine.se
Label info: www.auralofferings.com

Cold, dark and harsh could certainly be adequate descriptions for the atmosphere of “A Deceitful Calm”, the debut full-length album of Swedish group Undivine. Although it’s not a particularly innovative work, their first release stands out as a very promising effort and already displays a strong maturity with the quintet moving comfortably through the grimiest and gloomiest sides of Black and Death-Metal.
Something that will hardly surprise those who know that Undivine aren’t exactly newcomers giving their first steps in music since the band is formed by members of groups like In Aeternum, Isole, Withered Beauty and Rimthurs.
To which point do you think the experiences in such distinct projects like In Aeternum and Isole proved to be helpful to assemble Undivine and record “A Deceitful Calm”, did it allowed the band to have the task a bit more facilitated or did you experienced the same difficulties of any band that is starting up and wish to conquer their own space in the music?

“I have no idea.” Answers guitarist Erik Kumpulainen when we contacted him to find out more details about Undivine.

“I like to think we got our deal with Aural Offerings based on the quality of our music, not because of our participation in other bands.
Maybe it was helpful to some extent for Aural to get the distribution deal with Twilight Vertrieb.”

The recordings of the album started in late 2006 and only were completed in the beginning of 2008, what contributed for the recording process to be dragged for such a long time?

“Actually the recording was finished in the summer of 2007. Getting the distribution deal ready was one major part in the delay.
That was beyond our control. We finished our part of the work in autumn 2007 and then we were just waiting for the album to get released.”

Anyway, the album as mentioned was released in June and following several listenings it’s safe to state that “A Deceitful Calm” is a bit more melodic and diverse when compared to previous work “Behind thy Eyes”, in your perspective what are the main differences between the two works?

“First of all, I guess we needed some time to form our style. The album is more mature and we worked more on the songs on it.
Since we have pretty much unlimited access to the Apocalypse studio (owned by Isole) we can arrange the songs, and change details in the riffs etc more freely. In comparison to renting a studio for a couple of weeks or whatever, it gives us the possibility to produce better.”

The sonority of Undivine has been compared to bands like Dissection, Hypocrisy and Marduk and to a certain point those influences can be heard throughout the eight themes of the album. Do you consider such names to be influential for Undivine?

“Personally, Marduk and Dissection are great influences. The Hypocrisy style stuff is coming from Jonas, since he is a major Hypocrisy-freak. The Hypocrisy-influences will come through a bit more on the next album, since Jonas wrote the music to a bunch of songs on it.”

Apparently the band already has a new album ready to be record, right? Does the Undivine
of today differ from the Undivine that had recorded the album?

“The next album is recorded and being mixed right now. Also, we have got ourselves a new guitarist, Sami Mäki.
He is doing a couple of more solos on it, and then it will be sent out to get us a new record deal.”

What are the future plans for Undivine?

“Right now we are writing songs, rehearsing, and finishing the next album. No gigs are planned at the time, but we are working on it.
”We are focusing on getting some gigs abroad and hopefully someone will take us with them on tour...any day now!”

More info: www.undivine.se

Communic are coming from Norway, once known as the world-wide capital of Black Metal, but the sound of the Norwegians have very little in common with the genre. Those who already had the chance to listen to them know that Communic practise a very muscled and melodic Power-Metal that denotes some influences from US act Nevermore. The associations with the Seattle group are well known largely thanks to the vocal similarities between guitarist/vocalist Oddleif Stensland and Warrel Dane as both posses a slightly nasal voice with a notable range and expressivity.
Musically, the Norwegian trio doesn’t step away from the formula explored by Nevermore in albums like “Neon Dreaming Black” and “Dead Heart in the Dead World” either, a Power-Metal with melodic and dramatic contours perhaps only differentiating in the way Communic favour a more epic and diverse approach with constant oscillations between melody, aggressiveness, atmosphere and heaviness. Such kind of dynamism also brings to mind the epic metallers Iced Earth.
Containing only eight songs, the majority of them reaching the mark of eight minutes, “Payment of Existence” is very powerful album with rich and memorable arrangements that bears an excellent and crystalline production work courtesy of the Danish producer Jacob Hansen. There’s no theme that deserves more mention than others, all of them are very strong in their own way, from the powerful, catchy and epic opener “On Ancient Ground” to the final track, the complex, thrashy and fast “Stone Carved Eyes”, passing through the atmospheric and introspective “Raven' s Cry”.
“Payment of Existence” is definitely an album worth revisiting on future occasions. (7/10)

Band info: www.myspace.com/communic
Label info: www.nuclearblast.de

It looks like these days any band that dares to venture into the labyrinths of extreme and technical Metal will inevitably sees its name associated with either Meshuggah or The Dillinger Escape Plan, perhaps the two leading acts of this musical genre. Holland’s sextet Textures are one of such bands whose sound always reflected influences from the Swedish group, however “Silhouettes” cannot be summarized as a Technical Metal work with influences from Meshuggah since it displays a more multifaceted sound than for example “Obzen”.
It’s true that in the past Textures were heavily influenced by the Swedes, however such connectivity with the creators of “Destroy, Erase, Improve” solely dissolved throughout their three releases and merged with other types of sonorities since “Silhouettes” already discloses a different and calmer approach with some songs venturing towards a territory close to Tool.
Although different, the complexity and aggressiveness evidenced in previous works are not compromised and “Silhouettes” packs more weight than a cross punch from Mike Tyson capable of leaving you completely disoriented, without definition of north.
It is precisely with such strength that Textures initiates “Silhouettes” with "Old Days, Born Anew” bursting through the speakers with full force and in a fast rhythm. Mathematical and devastating riffs are debited by guitarists Jochem Jacobs and Bart Hennephof, whereas vocalist Eric Kalsbeek unleashes his most furious side, only resting on the refrain with a cleaner and calmer delivery. Close to the end, the group opts to give a turn of almost 360 degrees, embracing a more progressive sonority with some Arabian ambiences.
The following theme “The Sun's Architect”, also demonstrates a great diversity, with furious rhythms mingled with calmer and introspective moments. “Awake”, the third song clears a bit away from such formula, perhaps being the most melodic and accessible song from the entire album, that unleashes a very angry rhythm for brief seconds close to its end.
With “Silhouettes”, the Dutch sextet do not fear to try out new and calmer directions like Prog-Rock, a sign showing that their confidence and maturity is now stronger and clearer than ever before. Third album is definitely the confirmation of an enormous band that belongs to the same league that their onetime mentors Meshuggah play in. (7,5/10)

Band info: www.texturesband.com
Label info: www.listenable.net

One-Way Mirror is a new project involving elements of well-known European groups like vocalist Guillaume Bideau from Mnemic, guitarists David and Franck Potvin from Lyzanxia/Phaze I, bassist Loïc Colin from Scarve and drummer Dirk Verbeuren from Soilwork. Their résumé is obviously quite impressive and promises tons of quality however, it remains to know if the songs composed by the French quintet really match their highly qualified credentials.
Unfortunately, I’m forced to admit the debut work of One-Way Mirror failed to meet my initial expectations since it doesn’t strike as an innovative or essential release and doesn’t even equals the calibre of their prime acts. Somehow I was disappointed to see the five-piece clearly and unashamedly moving towards a more commercial and clean direction than for instance Soilwork or Mnemic. It’s a very predictable and polished sonority geared for immediate consumption that will most certainly please all the fans of soundtracks to movies like “Resident Evil” and “Underworld”. Please imagine the Industrial/Pop-tinged Rock of Filter, the catchy groove of Disturbed and a dash of In Flames aggressiveness circa “Comes Clarity” all combined together and the result is darn close to the sound practised by One Way Mirror. Their convergence of Swedish and US influences discloses some potential singles that will certainly be received with opened arms by radio DJs like the opener “Destination Device. Their simple and repetitive riff structures merged with some electronic nuances are easily digested and Guillaume’s clean voice is highly catchy as well. The Filter-influenced “As You Are Now” and “Redream”, a song that smacks heavily of Spineshank are other good examples of such immediacy.
The band’s tendency to move away from this formula is extremely rare and only happens on themes like “Danger Calling” and “21ST Century”, which display a heavier and more aggressive approach.
Considering the calibre of the musicians involved, “One Way Mirror” leaves a lot to be desired and by the fifth track I feel an uncontrollable impulse to press the eject button and play something else. (5/10)

Band info: www.myspace.com/onewaymirrorband
Label info: www.metalblade.com

Sometimes established musicians do not fear the risk of venturing themselves into new musical territories in order to satisfy their whims and desires when it comes to musical creation. Most of them aware that they could face the risk of hearing voices of protest and disapproval against such bold attitude. It happened recently with Cryptopsy’s latest work, where to the eyes of many fans the band has committed a sin proportional to the one Judas is guilty of.
Another band that has stirred up some controversy, although on a smaller scale is Germany’s Fear My Thoughts who have staked a change of sonority on their sixth full-length album “Isolation”. As expected there’re already some negative reactions flowing around, some even accusing the band of selling out and turning their backs to their origins, which were once rooted in the more melodic strains of Death-Metal.
It is true that “Isolation” cannot be classified of Death-Metal, it’s much more diverse than that, but what is certain is that it’s NOT Emo like Jimmy Eat World, it’s NOT Rock like Faith No More and it’s definitely NOT Nu-Metal like Linkin Park as someone already tried to suggest. The task of writing what “Isolation” doesn’t sound like it’s immeasurably easier than the arduous work of pointing out where exactly the album fits in musically, since it covers many areas and curves in many turns.
If in “The Blind Walk Over The Edge” and “Bound And Weakened” their approach to an accessible and melodic Prog-Rock is totally and unquestionably assumed with new vocalist Martin Fischer carrying out a really memorable delivery, in “The Hunted” and “Pitch Black” the band opts for a more aggressive posture that displays some similarities to the sonority explored on previous record “Vulcanus”. Only the talented singer detours on some occasions to a mellower and emotional path and dissipates such parallelisms.
The tendency would be to blame the new guy as the major responsible for the change and Martin has been the target of some criticisms truly unsubstantiated and unfair since he reveals himself as an extraordinary vocalist capable of delivering very diverse and interesting vocalizations that fit like a glove in the renewed sonority of Fear My Thoughts, which can be entirely identifiable as their own and discloses various styles and moods without ever sounding forced or mechanical.
However if you urge for some references perhaps if you could pick Poisonblack, Mercenary, Katatonia, In Flames and Isis and place them all in a room for an exchange of ideas and some jam sessions the result wouldn’t be too far removed from the Fear My Thoughts of today.
Leave all preconceptions and elitisms behind you and enjoy “Isolation” for what it really is. An interesting, captivating and innovative work that circles around Metal, Rock and Prog that simply grows on you with each consecutive listening. (7/10)

Band info: www.fearmythoughts.com
Label info: www.centurymedia.com

Who hadn’t thought about moving job, city or even wife once in their lifetime? As everything in life, sometimes we feel an impulse to move ahead or simply evolve into other directions in order to feel fully fulfilled and accomplished.
Germans Fear My Thoughts had felt a similar impulse recently and opted to give a new route to their musical career on their sixth album “Isolation”.
A transformation that coincided with a change of vocalists, previous singer Mathias Ockl displeased with the new evolution decided to quit and was replaced by Martin Fische, who possess a more dynamic and melodic voice. As obvious, this newfound sonority brought a backlash of negative feelings among their fan base. Nothing that Fear My Thoughts weren’t already expecting according to guitarist Patrick Hagmann.

It doesn’t really sound like the old Fear My Thoughts anymore! The sound is unrecognizable against past releases! It is not Metal enough! These are some of the expressions commonly used by some press and fans to define the new record of Fear My Thoughts entitled “Isolation”.
The successor of “Vulcanus” definitely marks a new and bold chapter in the career of the Germanic group and the reactions that it has collected are not entirely unexpected to the band members. You were aware that some fans, especially the more conservative ones wouldn’t quite understand the evolution carried out by the band right?

“Sure, we were aware of that and we expected these reactions. But what can we do? We are artists and creative minds, so in the first place we have to like the music. If we would write music just to please the listener that would be the "Sell-out" many people are blaming us now for. But Fear My Thoughts was always about change and discovery and challenge. If you listen to all our records, you will recognize that we never sounded the same.”

What was the most incomprehensible reaction the band already had the chance to read or to observe, I’m particularly reminded of the strange associations to Gothic and Emo music?

“Oh, there were a few, haha. Next to "you guys are gothics and emos now" it was the use of the term "Nu Metal" in a few reviews, and someone said that our singer sounds like a mix of Warrel Dane (Nevermore) and Reamonn (I don’t know if this guy is known outside of Germany, he had this hit "Supergirl"...really shitty Pop-Rock-Stuff, haha)
Oh and that Martin can’t sing... really funny, haha.”

As mentioned above, the sound of Fear My Thoughts have evolved into wider directions, it’s more emotional, darker and very honestly it’s more interesting than previous propositions, especially the somehow disappointing “Vulcanus”.
I presume that the band wasn’t entirely satisfied with final result of that work and wanted to try out new options that matches your musical tastes right?

“Vulcanus” was quoted as our best effort so far by many fans and magazines, and for us it’s still a really good album. But after that we had the feeling that everything was said in this direction. But we were totally happy with that album when we recorded and released it. We still love to play the “Vulcanus” songs live, and our "new" singer Martin can sing these songs really aggressive.”

I’m aware that the necessity to try out and expand into other horizons led former vocalist Mathias Ockl to quit the band due to musical divergences with the remaining elements. This incompatibility was demonstrated at the very beginning when the band discussed the possibility to evolve into other directions or it manifested during the composition of the new themes?

“Thing is we never discussed about heading into this new direction. It just happened in the song writing process. We tried or even forced ourselves to write songs in the “VULCANUS” way, but it didn’t work out, it wasn’t honest. So we let it flow, and wrote these songs and were happy with it! Except our old singer who wanted to keep the old style. We said to him that we can’t force ourselves to write music that doesn’t come out naturally by itself. So he decided to leave, besides other reasons in his private life.”

Exit Mathias Ockl, enter Martin Fischer, an old friend of the band whose vocal performance reveals to be more diverse and melodic and fits perfectly in the new and reinvigorated sonority of Fear My Thoughts. The ability of the new vocalist Martin to produce more diverse and emotional vocalisations allowed the band to explore new sounds or the songs were already written when he jumped onboard?

“Three or four songs were already written, when Martin joined us. We didn’t change them drastically, Martin just put his Vocals on it and it fitted perfectly. After that change, Martin was really much incorporated in the song writing process, since he’s also a great guitar player (he’s a guitar teacher) and piano player and knows a lot about musical theory, despite the opinion of many people. He’s more responsible for the arrangements of the darker and brutal songs on “Isolation”. He’s not the "Pop-guy" like many people expect. Some of his favourite bands are Meshuggah, Dillinger Escape Plan, Mastodon and Melvins.”

With a new album exploring wider sonorities and a new and talented vocalist, have Fear My Thoughts set new goals for themselves?

“Not really, haha. We never plan that much. We just write music and play shows.”

“Isolation” is getting a lot of attention and recognition, so do you still manage to conciliate your day jobs with the increasing activities of the band?
I see for example that Fear My Thoughts will team up with Dark Tranquillity and Poisonblack for a tour across Europe in October.

“We have to! Actually we’re happy that we don’t have to live off the band’s income. If we would have to care for that, we wouldn’t have the freedom to write an album like “Isolation”, it would be too risky. But we don’t work fulltime in our jobs, and our bosses are quite supportive, haha.”



For the first time in their career, Fear My Thoughts have opted to produce and record an album by themselves at Black Halo Studios which is owned by guitarist Patrick Hagmann, only hiring the services of famed producer Daniel Bergstrand (Meshuggah, In Flames, Soilwork, and Strapping Young Lad) to handle the mixing duties and vocal recordings. Did you felt comfortable with this process? Some bands tend to loose objectiveness when they opt to produce themselves without the help of an external pair of ears.

“We know each other for so long now and since most of us come from a social worker/teacher background job-wise, we have pretty good methods to stay patient and calm, and to organize work, haha.
So it went actually pretty smooth, although it was a lot of work. But we liked the idea to sleep in our own beds next to our wives/girlfriends. We didn’t want to spend another 3 or 4 weeks in some studio 1000km away. That’s fun in the beginning, but annoying after a week.
But Daniel Bergstrand had some great ideas during the mix. He’s such a great guy, and has a unique way of working and being creative. He hates modern studio technology and he doesn’t use any digital effects or plug-ins.”

The end result is quite striking and organic, I believe it was intentional to strip down the recordings to a bare minimum of effects and overdubs right?

“Exactly! We were bored of these super-bombastic productions. We wanted to have this live feeling. It was supposed to sound how we really are. Just two guitars, one natural drum-set, a bass and a voice (that isn’t doubled for 95%).

Will you try out to set a career behind the mixing desk?

“At the moment, it’s still like a hobby for me, but I’m quite serious about it. I produce more and more bands, at the moment it’s KATE ON CRACK, the new band of our old drummer. They play a great mix of Foo Fighters, Queens of the Stone Age and Biffy Clyro. But I also love my job as a social worker in an institute for handicapped people.”

What can we expect from Fear My Thoughts in the near future?

“You’ll never know, haha. First of all we want to play many energetic shows with a mix of old and new songs, then we’ll see...”

Belgian Progressive Doom-Metal act OCEANS OF SADNESS has posted another new track called "Subconscious" from their forthcoming fifth album, "The Arrogance of Ignorance". on their MySpace page. According to the band, this is "not just any song but a special collaboration with Annlouice Loegdlund, the astonishing vocalist of our Swedish friends of DIABLO SWING ORCHESTRA."

"The Arrogance of Ignorance" was produced by Jens Bogren at Fascination Street in Örebro, Sweden and is due for release in late September by Scarlet Records.
The album includes an additional guest appearance by Johan Liiva (formerly of ARCH ENEMY, HEARSE) on the track "In The End" and artwork was created by the renowned Greek artist Seth Siro Anton.

Candlelight Records has recently announced the signing of multi-national Progressive Doom-Death group THE LIVING FIELDS. The trio, with members based in Chicago, London and Ottawa are currently working on the successor of their critically acclaimed self-titled debut, which is titled "Running Out Of Daylight" and is scheduled for release in early 2009.

Guitarist Jason Muxlow has issued the following comments regarding the signing with the UK label. "Candlelight has been very successful working with bands that defy convention. Their discography is filled with milestones. Their legacy undoubtedly speaks for itself and we're thrilled to be part of their future."

Originally formed in 2002 by Muxlow, The Living Fields have had their sound likened to that of My Dying Bride, November’s Doom and others. Together with vocalist Jon Higgs (also of Monsterworks) and drummer Chad Walls (Brodequin, Enter Self), Muxlow and The Living Fields explore a wide range of sounds and styles utilizing a palette of guitar, drums, bass, strings, piano, and spine-chilling vocals that will amaze fans and critics worldwide. "True epic metal of a most norm-shattering aspect," says Terrorizer of the band’s self-titled debut. “Mandatory,” adds Metal Maniacs.

Australia's THE ETERNAL will release its new album, "Kartika", in Finland on November 12 through Firebox Records. A release date for the rest of Europe by the Finnish label will be announced shortly and the Australians are currently negotiating the release of the record in other several different territories, dates will be announced soon.

Featuring the artwork of Italian designer Diego Maniscalco, "Kartika” was recorded at several Australian studios including Mixmasters Studios, Adelaide and Palm Studios in Melbourne and was mixed in Tallinn, Estonia by Endel Rivers at Palm Studios II. The mastering took place at the renowned Crystal Mastering, Melbourne,
The first pressing of "Kartika" will come with a limited-edition bonus disc featuring unreleased demos & remixes; over 95 minutes of new material from THE ETERNAL.

The album’s track listing:
01. Silence (6.04)
02. Without Reason (4.47)
03. Lost Our Way (4.33)
04. Self Inflicted (3.59)
05. Blood (9.37)
06. A Pale Reflection (5.03)
07. Sunshine (4.02)
08. Illuminate (4.11)
09. Walk Beside You (4.55)
10. Kartika (2.30)
11. Means For An Ending (4.20)
12. Brighter Day (7.07)

Bonus Disc:
01. Frozen Sun (Unreleased demo) (6.16)
02. July (Unreleased demo) (6.09)
03. Inside The Grey (Unreleased demo) (4.29 )
04. Last Embrace (Unreleased demo) (5.02)
05. Inflicted Self (Self Inflicted Remix) (3.19)
06. Blood (Draconian Drone / Dark Insight Remix) (9.09)

Swedish Progressive Death-Metal project ÆTHEREAL, whose mastermind is Phil Creswell formerly of DUMAH will release its debut album, "Premonitions", on August 15 through Black Goat Records.

"Premonitions" track listing:
01. A Coming Storm
02. Premonitions
03. Haunted by Visions
04. Suicide Hymn
05. The Dark Apostle
06. Mendicant
07. Motion Blur
08. Dancing in Blood
09. White Room
10. A Bitter Taste

Six tracks from the CD can be found ÆTHEREAL MySpace page.

Los Angeles based symphonic black metal band SOTHIS have revealed the cover artwork for their full-length debut "De Oppresso Liber". The record, which is scheduled for release in North America on September 2 through Candlelight Records, was recorded in Los Angeles and mixed in Varberg, Sweden by Andy LaRocque of KING DIAMOND fame at his Sonic Train Studios.

"De Oppresso Liber" track listing:
01. Of Night And Silence
02. De Oppresso Liber
03. Beneath A Black Boiling Sky
04. Lunar Descent
05. Obsidian Throne
06. Defiance
07. The Cold Disconnection 08. Lair Of The Benighted
09. Perpetual

Originally formed in late 1999, it took SOTHIS five years to gather a stable line-up and record a four song self-titled demo. This demo would prove to be a critically acclaimed work that would land the band some exposure in major magazines such as Revolver, Zero Tolerance, and Pit. The demo received nearly unanimous stellar reviews, even landing SOTHIS the coveted ”Best Independent" release of 2005 in Canada's own Brave Words & Bloody Knuckles.