For those unfamiliar with the name, Factory of Dreams is the latest sonic artefact of Project Creation’s mentor Hugo Flores, a talented Portuguese guitarist and multi-instrumental musician whose background also includes Sonic Pulsar between an impressive and immeasurably list of participations with other musicians.
Joined by Swedish vocalist Jessica Letho, Factory of Dreams sees Hugo Flores delving into the realms of Progressive Rock and Electro-Gothic music and the end results aren’t too far removed from the latest Space-Rock-Opera of Arjen Anthony Lucassen’s Ayreon project. Sure, “Poles” is not as bold and textured as “01011001”, but there’s definitely some similar traits that somehow ties these two releases together. Like for example the multilayered song-writing and elaborated arrangements conveying a multitude of moods and emotions, mostly within a dark and more dramatic scope, the electric tone of the synthesizers that grants these songs with a mechanical edge and the enthralling vocal harmonies. There’s only one singer featured, but Jessica Letho possesses an outstanding and diverse voice that varies between an Operatic-tone to a more Jazzy-approach akin to Anneke van Giersbergen from The Gathering.
The criticisms that can be addressed to “Poles” include the somewhat clinical sound of programmed drums (it might have benefitted the songs if a real-acoustic drum set was used instead) and the muffled production that prevents the songs from sounding truly grandiose. Still, “Poles” is an enjoyable listening. (6.5/10)

Band info: www.myspace.com/projectcreation
Label info: www.progrockrecords.com

I seem to vaguely remember reading nice things about Portugal’s ThanatoSchizO before, though for one reason or another never took the initiative to pick one of their works. Until now that is! I’ve finally stepped forward and made myself acquainted with the band’s eclectic sonority thru their fourth full-length album “Zoom Code” and I can safely state that I’ve been missing an interesting and rewarding experience.
“Zoom Code” is a hard piece to categorise since it detours into many routes, some of them quite challenging and eerie and touches many grounds raging from Doom, Gothic, Folk, Middle Eastern music and free-jazz. Despite the complexity and disparate potpourri of influences, most of the songs flow surprisingly well, bare a few and rare twists like for example some clean male singing that don’t always work in their favour.
The album starts with the Lacuna Coil-styled “Thick ‘n’ Blurry”, a somewhat up-tempo Gothic-Metal template with a vocal interplay between angelic female and gruff male vocalisations similar to the Italians. Next song “L” begins with a Doom-Death Metal approach nodding towards early Amorphis, but soon detours into the more Middle Eastern-inspired moments of Dead Can Dance with its Arabian-tinged violin solo. "(Un)bearable Certainty" delves into the trip-hop ambience of The Gathering circa “How To Measure A Planet” and "Pale Blue Perishes" sees the band leaning towards a more Progressive-Rock mould close to someone like Porcupine Tree. These are just a few examples of ThanatoSchizO’s eclectic, complex and enthralling sound structures.
With someone like Waldemar Sorychta at the production helm to trim down some superfluous exaggerations and enhance some superb arrangements this record would outshine and outclass everything Lacuna Coil have done so far. Nevertheless “Zoom Code” is definitely one of the best and most interesting records spawned in Portugal this year and should not be overlooked. (7/10)

Band info: www.myspace.com/thanatoschizo
Label info: www.mykingdommusic.net

Named after one of the principal accusers of the Salem witch trials of 1692, which ended with 19 presumably innocent people executed to death under accusations of practising witchcraft, Abigail Williams is a North-American group delving into a Black-Metal-tinged sonority somewhat indebted to UK’s Cradle of Filth.
Their excessive use of keyboards to convey the songs with an obscure and terrifying atmosphere coupled with vocalist’s Sorceron persistent practise of high-pitched Dani Filth-styled screeches are the most easily recognisable traits that brought to mind such comparison.
Exhibiting a great production work from Death-Metal guitar maestro James Murphy, “In the Shadow of a Thousand Suns” is actually the group’s debut full-length album, following a well-received EP named “Legends”. Thought I’m not familiar with their previous release I recall reading something along the line of a Metalcore act trying to linger over Norse Black-Metal. Well unless someone is pulling the shit with such observations, aside from their well-adjusted slightly hardcore image eschewing the corpse-paint of their Norwegian counterparts, I really can’t hear that much Metalcore input here. It’s essentially a symphonic and absurdly ferocious take on Black-Metal, neither wholly Norse-influenced nor exclusively similar to Brits Cradle of Filth. Well-written and well-played, songs such as “The World Beyond”, “Acolytes” and “Into the Ashes” do see the band deftly treading the cold, atmospheric and vile path explored by COF on albums like “Cruelty and the Beast”, while tracks like “Empyrean: Into the Cold Wastes” witness Abigail Williams bordering on an almost Norse relentless savagery. It should be mentioned that “In the Shadow of a Thousand Suns” features the fantastic and powerful drummer Trym Torson from Emperor/Zyklon fame, which enhanced these ten songs with an incredible nasty and furiously fast performance.
Although their synth-drenched sections owe a lot to COF’s influence, there’s occasionally a glimpse glow that indicates other inspirations as well like for example “A Thousand Suns”, its strange and progressive leanings are certainly more reminiscent of someone like Arcturus.
Bottom line, Abigail Williams is a band to watch out and “In the Shadow of a Thousand Suns” a record to hear, despite its derivative side. (7/10)

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

“Insidious Awakening” comes recommended for fans of Arch Enemy, The Haunted and Soilwork and even if 90% of the times it’s just pointless, misleading information from marketing campaigns in case of Portugal’s Echidna it’s downright accurate since the band operates in realms somewhat similar to these Swedish acts.
Their debut full length album “Insidious Awakening” is built on a Swedish-Metal framework, sufficiently melodic to earn some comparisons to Soilwork’s initial years, thrashy enough to be tagged as a The Haunted-inspired outfit and surely with a Death-Metal edge that sets them close to Arch Enemy.
Although it could be seen as a vaguely derived release since there’s little here you haven’t heard before, Echidna get away with it by churning out a vile and sharp Death-Thrash Metal assault clearly a cut above from the average group that dwells in similar Swedish resources.
Songs such as “Purifier”, “Anger is my Drug” and “Evolution: Reload” prove just how good Echidna can be at blending galloping and aggressive riffs with melodic, cutting leads and pounding and fast beats. Plus, they reveal a technical proficiency that lends the songs a knotty and interesting trait, though they can be equally catchy and memorable at certain points.
Although “Insidious Awakening” cannot be exactly seen as an essential purchase, it’s definitely a strong, coherent and well-versed release in Swedish Death-Thrash dynamics. (7/10)

Band info: www.echidnaband.com
Label info: www.rastilho.com

If it’s downright nasty and groove-filled riff franticness you crave for look no further than We Are The Damned’s “The Shape of Hell to Come” for this Portuguese four piece sound like a dangerous sonic cocktail Molotov made with all kinds of corrosive components like Punk, Rock, Metal and Hardcore.
We Are The Damned is allegedly a side project featuring members of some prominent Portuguese groups like Painstruck, Twentyinchburial and Blacksunrise, but nonetheless it should be mentioned that for a band formed just over a year ago “The Shape…” is nothing short of striking. Their experience really comes forth throughout these lethal and raging thirteen themes, bursting with groove and vitriolic aggressiveness.
There are bits and pieces that take us straight to the mid-period Entombed, I’m particularly reminded of “Too Ride Shoot Straight…” album, while other moments flutter back to the abrasive and straightforward Punk-Hardcore of Discharge. Opener “Hell is my Witness” for example definitely has a doom-paced intensity akin to Entombed’s more slower and corrosive moments, while “Miskatonic” flows with an enthralling Death ‘n’ Roll vibe close to their post-“Wolverine Blues” days like The Hope Conspiracy jamming with The Hellacopters. Meanwhile, “Thrill to Kill” is pure Punk in attitude and sting, displaying a more sludgy vibe towards its end. Massive, sludgy and rocking riffs are something that abounds aplenty in “The Nihilist”. Guitarist’s Ricardo Correia ability to morph all sorts of styles spanning from Punk to Death-Metal into a cohesive and menacing whole is truly remarkable. Worthy of mention is also female vocalist Sofia Loureiro, graduated from the Karyn Crisis caustic school, she posses a monstrous voice that would make Angela Gossow’s shrieks sound like a spoiled brat.
Bottom line, We Are The Damned is a great and crushing band that will surely appeal to anyone with a soft spot for bands like Entombed, Doomriders and Give Up The Ghost. (7.5/10)

Band info: www.myspace.com/wearethedamned
Label info: www.ragingplanet.web.pt

Swedish thrashers THE HAUNTED have posted the first of six video episodes describing the song writing and recording process for the band’s new album, "Versus". Watch it below.
"Versus" will be released via Century Media Records on the following dates:

Sweden: Wednesday, September 17
Germany, Austria, Switzerland, Benelux, Italy: Friday, September 19
Spain, Portugal: Tuesday, September 23
Finland, Hungary: Wednesday, September 24
UK, France, Greece, Denmark, Norway, Rest Of Europe: Monday, September 22

The CD was recorded in part at PUK studio in Denmark with producer Tue Madsen (HEAVEN SHALL BURN, DARK TRANQUILLITY, MOONSPELL, etc) and part at IF studios (property of In Flames) in Sweden.

"Versus" track listing:
01. Moronic Colossus
02. Pieces
03. Little Cage
04. Trenches
05. Ceremony
06. Skuld
07. Crusher
08. Rivers Run
09. Iron Mask
10. Faultline
11. Imperial Death March

THE HAUNTED will stream "Versus" in its entirety for a one-week period beginning this Friday, September 12 via the band's MySpace page, meanwhile an e-card for "Versus" can be found at this location.

US Death-Thrash metallers THE RED DEATH have called it a day.
The following message was posted on the band’s Myspace page.
"So we're calling it a day and hanging up THE RED DEATH. It's been a fun ride and our thanks go out to Metal Blade Records for giving us the first opportunity to bring our music to a larger audience, Siege Of Amida and Ferret Music for doing all the leg work on the release of 'Godmakers', the past members of this entity for their contributions, and everyone out there across the U.S. that put us up, fed us drinks or joints, put on a show, put a tour together, or bought some merch. The past six years have been incredibly memorable. We're all onto different projects and pursuits with Aaron [Conti, guitar] being involved with recording at Moresound Studios in Syracuse, NY and totally ripping at the controls, Paul's [Hamblin, vocals] doing vocals for the next DEVIL HIS DUE record, Graham's [Mitchell] jamming with FREYA, Mark's [Kelley, guitar] involved with his video editing and recording projects and looking for a band to jam with, and Jordan's [Rathbun, bass] gonna be chillin like a dude for a while and looking to jam as well. Stay fuckin vital and live your damn life"

THE RED DEATH will play the following final shows (possible stops in Auburn, NY and Syracuse, NY):

Sep. 13 - Binghamton, NY (with THE ADEPT, PRODUCT OF HOSTILITY)
Sep. 27 - Watertown, NY (Supergnarly Fest)
Oct. 31 - Bath, NY - The Little Pickle (Costume Party)

Read the review of THE RED DEATH's second full-length album, "Godmakers" released by Siege of Amida here.

Swedish quintet ENGEL quintet featuring guitarists Marcus Sunesson (ex-THE CROWN) and Niclas Engelin (PASSENGER, ex-GARDENIAN, IN FLAMES), drummer Mojjo (RELEVANT FEW, DRACENA) and vocalist Mangan Klavborn — are currently at PUK studios in Gjerlev, Denmark with Danish producer Tue Madsen (THE HAUNTED, HIMSA, SICK OF IT ALL) recording the successor of their debut record “Absolute Design” released last year by SPV Records. The band has launched a studio blog featuring photos and regular updates from the recording of their yet untitled second album which is set to appear in early 2009.

Read Engel’s interview on Scratch the Surface webzine here.

The Ripe Harvest is a new rubric where we intend to collect the finest crop of musical projects within a more extreme, alternative and heavier spectrum and without any bonds to record labels.
To inaugurate this new space we have picked an interesting Portuguese band named Zella, whose formation includes members of the extinct group Slamo. The sound of Zella however gravitates in a completely different stratosphere from the Post-Hardcore/Nu-Metal hybrid that Slamo inhabited. Their recently released promotional work marks a new turn in the quintet’s career since following the departure of vocalist Tobel, Zella opted not to replace him and decided to embrace the instrumental path, an experimental and progressive rock with some leanings towards Russian Circles, Red Sparowes and Pelican. Themes like “Crisalida”, “2 Acto”, “Cubo Mágico” and “4Grau” reveal a great maturity in song writing with the band constantly projecting clever dynamics and memorable riffs that contributes greatly to increase the interest.
For more information please consult: www.myspace.com/zellaband
Next we head towards Denmark to meet Slow Death Factory, a group of seasoned musicians that include in their ranks former members of well-known Danish acts like Barcode, Panzerchrist and Illdisposed. So, we aren’t exactly dealing with the kind of fledging musicians that are giving their first steps in this business and that’s perfectly audible while listening to their self-released debut album "From the Gutter to Your Ears" ‘cause in the business of Death and Thrash-Metal they act like those shark executives without a single drop of benevolence or pity. Mixed by famed producer Tue Madsen, "From the Gutter to Your Ears" packs some ferocious and aggressive riffs capable of separating heads from torsos. Don’t just take my word for it! Download their work freely from their website to suffer the injuries yourself. I’m tempted to bet my left testicle if these guys don’t get signed to a relevant label in the following months, but won’t ‘cause we’ll know how cruel and ungrateful the music industry can be. More info at: www.myspace.com/slowdeathfactory
To finalize our first harvest, we bring you directly from Germany The Hand of Glory. Behind their somehow good-spirited band name lurks a collective of five individuals that have assembled the severity of Death-Metal and the fury of Hardcore into a menacing whole. In some circuits, the blend of Death-Metal with Hardcore is synonymous with Metalcore and although the tag isn’t totally awkward when applied to the German’s sonority, The Hand of Glory clearly gives bands like Bleeding Through a run for their money. The band is currently preparing their debut so stay tuned to www.myspace.com/thehandofglory for more details.

It took ten long years for Portugal’s Heavenwood to follow-up their highly successful second effort “Swallow”, released by German label Massacre Records precisely in 1998.
All sorts of setbacks have prevented the group from releasing new material, including an increasing line-up turmoil that ultimately lead to a lengthy period of inactivity and reduced them to a strong unit consisting of Ernesto Guerra on vocals, Ricardo Dias on vocals and lead guitar and Bruno Silva on rhythm guitar. Lesser acts could overcome such trials and hindrances, but Heavenwood not only managed to vanquish them, they have also written a strong record that sounds genuinely relevant in today’s music scene. Its long-strewn and forced gestation gave the band the opportunity to carefully labour over the songs and prepare a firm, mature and triumphant comeback since it’s perfectly audible that a lot of attention was paid to details and arrangements.
“Redemption” is a forward-looking and honest work that’s dynamically positioned somewhere between Gothic, Metal and Rock, it’s virtually impossible to say whether they’re predominantly one thing or another, though it has an unequivocally Metal edge. “Bridge To Neverland” is perhaps one of the fastest and heaviest themes penned by the group so far. Featuring Jeff Waters as guest musician on lead guitar it actually sees the band strangely moving thru a domain not too far removed from Annihilator, though the end result is surprisingly greater and irresistible.
On other occasions it bears some similarities with Paradise Lost circa “Draconian Times”, especially since guitarist Ricardo Dias has the same knack for crafting memorable and shimmering leads that Gregor Macintosh is renowned for. Songs like the immediately gripping “13th Moon”, “Fragile” and “Obsolete” all echo that trademark Macintosh sound and are album highlights and potential singles. The vocal delivery on these songs and a few others, spanning from a mournful growl of Ernesto Guerra to an emotional croon of Ricardo Dias is incredibly addictive and intense.
Elsewhere, “Me & You” sees Heavenwood delving comfortably into areas new to them, invocating memories of a depressive Maniac Street Preachers crossed with the bleakness of Katatonia. The Swedes presence can also be felt on “Foreclosure”, its dark mood and involving morose riffing showcase some similarities with Katatonia.
Produced by Daniel Cardoso and Heavenwood at Ultrasound studios and mixed by Jens Bogren at Fascination Street studios, “Redemption” is a grandiose work, more dynamic, guitar-driven and accessible than their previous album “Swallow”, though it never verges on an overly "commercial" or radio-friendly sound. Although the production work is very strong and limpid it shows a pristine quality that gives a dirtier edge to these songs.
With “Redemption”, Heavenwood have clearly jumped a few stairs up to accession, clearly recovering some of the lost ground and deserve the recognition that has long been escaping from them. Impressive! (8/10)

Band info: www.myspace.com/heavenwood
Label info: www.myspace.com/recitalrecords

The opening theme of Grand Magus latest work “Like The Oar Strikes The Water” is such an incredibly invigorating and addictive song that makes me feel like Rocky Balboa running up the stairs of the Philadelphia Museum of Art. A remarkable exercise on Heavy-Metal of Epic proportions, “Like The Oar Strikes The Water” ostentate some truly powerful and galloping riffing so bloody infectious and catchy that along with a colossal and memorable chorus aroused an exciting tingle in me to lift some weights and then crank up a serious tumult at the nearest bar. Or “Iron Will” is that’s good and touching or I’m just downright influenceable.
Honestly, I believe that the Swedes fourth full length work is a masterful record, veering even further towards the more Heavy-Metal direction Grand Magus were exploring on their previous work “Wolf’s Return”, though Black Sabbath, specially the Dio-years continues to be one of their privileged sources of inspiration.
The Stockholm trio nowadays mostly favour a more traditional Metal framework, more muscular and faster in its structure yet at the same revealing a completely laidback and grooving vibe. “Fear Is The Key” is a good example of such creative mood, drummer Seb hammers down his snares and cymbals with a thundering violence, the bass lines of Fox rumble with a groovy resonance and vocalist/guitarist JB crafts out amazing riffs that carry out a New Wave of British Heavy Metal feel and leads that would make Smith/Murray blush.
Elsewhere, “The Shadows Knows” also has vintage vibe akin to the early days of Iron Maiden and “Silver Into Steel” possess the same epic quality Manowar can pull off on rare occasions.
As previously mentioned, Black Sabbath still is one of the main reference points to describe Grand Magus and songs like “Iron Will” display a chugging riffing that has Iommi written all over it. “Self-Deceiver” is equally Sabbath-driven with a low and heavy bass resonance that brings to mind Geezer Butler’s style.
True Heavy-Metal doesn’t get any better than “Iron Will”. (7.5/10)

Band info: www.grandmagus.com
Label info: www.riseaboverecords.com

Writing about music is most of the times as worthless as shampoo for bald heads and you should just listen to the goddamn thing and judge it yourself. Case in point, The Haunted’s newest release “Versus” is a record to be experienced and not read about ‘cause for one thing there’s hardly any suitable words to describe it, but mostly ‘cause it’s an experience to be lived, assimilated and fully consummated. One of the best albums you will hear all year!
What does it sound like I hear you ask? Well like The Haunted at their absolutely best. Hurtful and bound to inflict some serious damage yet pleasurable like the best orgasm you ever had. Suffocating and scary, it leaves you gasping for breath like being locked on the trunk of a car driving 260km down a dangerous mountain with a blindfolded kamikaze at the wheel.
Oh you wanted to read how it actually sounds like music wise!
Okay, guitarists Patrik Jensen and Anders Björler chop and carve incisive riffs from all sorts of variety, fast and thrashy, slow and sludgy, labyrinthine and enthralling, catchy and groovy.
Peter Dolving is needless to say Peter Dolving, one of the best vocalists in extreme music capable of delivering a truly demented and disturbing performance. On some occasions Dolving sounds like a suicidal schizophrenic without his medicine while in others he sings in a disturbingly emotive way as if he was mourning the loss of close friend.
The rhythmic section of bass player Jonas Björler and drummer Per Möller Jensen are tight as Bush Jr. is to oil fields, detonating powerful blasts of rage and brutality between more laidback and groovier moments.
Apparently, “Versus” was recorded live at IF studios, property of In Flames and it certainly favoured these songs as they display an incredible organic and dirty vibe, specially the drums.
Sweden’s undisputed kings of all things Thrash and alike, The Haunted have produced a monster work capable of completely obliterating their already strong and captivating “The Dead Eye” release, definitely a 9 out of 10. (9/10)

Band info: www.the-haunted.com
Label info: www.centurymedia.com

Even before I pressed play to give start to my first encounter with Battlelore via their fifth full length album “The Last Alliance” I knew exactly what was coming my way. It’s like going out for dinner to McDonalds during your vacations in Greece and ordering a Big-Mac, it’s 99,9% guaranteed that it will taste exactly like the last one you eaten back home.
Well, Atmospheric Metal will sound exactly like what Atmospheric Metal is supposed to sound like with all the clichés and pomposity inherent to the genre. Needless to say Finland’s Battlelore have fallen into the same trappings most groups opting for this style of music usually fall into. The vocal interplay between a female singer that sounds like an innocent and immaculate little girl lost in the woods and a male growler that sounds like a sexually aroused ogre chasing that same little girl, tons and tons of keyboards melodies, it’s all here. Take for instance the first theme “Third Immortal”, completely dull and unimaginative it sounds like a soft bedtime song supported largely on a catchy harmony the kind we all like to hum while doing the dish washing. Its simple structuring coupled with a bridled and tender vocal delivery from Kaisa Jouhki and some uninspired keyboard melodies have roundly failed to make a pleasing and surprising start. Elsewhere things don’t make a better impression either, there’s occasionally a spark glowing here and there, briefly displaying a rare moment of inspiration, but mostly “The Last Alliance” is a uninteresting exercise on Atmospheric Metal better suited for a Disney animated screenplay and not the journey through Middle-Earth the press release blurbs about. (4/10)

Band info: www.battlelore.net
Label info: www.napalmrecords.com

To convince you that the new album of Omnium Gatherum “The Redshift” is one of the best works that you will hear during this prolific year of 2008, it should suffice to state that Dan Swano, that charismatic figure of the underground considers it one of the best releases of melodic Death-Metal of recent times.
Although the former leader of Edge of Sanity can be a little suspicious to talk about “The Redshift” considering he was involved in the conception of the Finns fourth record by taking care of the mixing job at his infamous Unisound studios, it is truth that not all the works the Swedish guru puts his fingers on turns into gold and deserves his seal of approval announced publicly.
For those who haven’t yet heard Omnium Gatherum’s songs I must urge you to grab a copy of “The Redshift” to listen to their graceful and melodic Death-Metal with Progressive nuances, it will certainly be a rewarding experience.
In “The Redshift” their blend of progressive melodies with Death-Metal aggressiveness appears to be more refined and mature, clearly demonstrating that the sextet possess a especial knack to incorporate magnificent melodies and luxurious and slightly byzantine arrangements between brutal and aggressive riffs.
Clearly superior in comparison to their previous work “Stuck Here On Snakes Way”, the new record stands out for being a more melodic and accessible work, their progressive tendencies are still present though, especially in the guitar leads that along with the keyboards of Aapo Koivisto give a certain 80’s feel akin to Marillion and Rush to some of these songs. Guitarists Markus Vanhala and Harri Pikka have focused to some extent on more straightforward and aggressive riffs and some truly memorable harmonies, without however forgetting some of the complexity that always characterized their sonority.
The opening theme “Nail” for example, cranks out in a fast pace with some catchy riffs intertwined between intricate guitar harmonies that lead into a contagious and melodic chorus and then gets followed by a splendid and elaborated guitar solo.
“The Shadowkey” is also a remarkable and diverse song, exhibiting some progressive leanings it displays an impressive guitar work and an incredibly rich and compact bass line that sometimes brings to mind the style of Rush’s Geddy Lee.
The bass work of Eerik Purdon is worthy of note for his playing doesn’t merely follow the rhythm of the guitars, but instead shows a proper, inventive and dense style.
Elsewhere, “Chameleon Skin” continues to display magnificent harmonies and great guitar leads, and some tasteful and subtle keyboard lines, while the mellow piano-driven “No Turning Point” shows a remarkably memorable and strong chorus with vocalist Jukka Pelkonen singing in a gruff yet incredibly perceptible tone that brings to memory the early period of their compatriots Amorphis. The vocal performance of Jukka also appears to be more confident and completely integrated in the group’s sonority, clearly not revealing any restraints to experiment other approaches like the clean, more emotional singing of “Greeneyes”.
Diverse, interesting and deliciously melodic, “The Redshift” is an album that grows with consecutive auditions and the more I get myself familiar with these songs the more I agree with that gentleman named Dan Swano, certainly one of best melodic Death-Metal works of this year! (8/10)

Band info: www.omniumgatherum.org
Label info: www.candlelightrecords.co.uk

Omnium Gatherum are on the verge of releasing the successor to their highly acclaimed album “Stuck Here on Snakes Way” via Candlelight Records. Entitled “The Redshift”, the fourth full-length work of the Finns was mixed by underground legend Dan Swäno (Edge of Sanity, Moontower, Bloodbath, etc) in his resurrected Unisound studios and shows Omnium Gatherum on top form delivering a sonority full of contrasts, it’s gracious and yet brutal, sorrowful yet reinvigorating and byzantine yet surprisingly memorable. Scratch the Surface had the chance to know more details of “The Redshift” from vocalist Jukka Pelkonen and lead-guitarist Markus Vanhala. Read on…

With underground legend Dan Swäno sitting behind the control knobs of a soundboard at his infamous Unisound Studios, Finland’s Omnium Gatherum have produced their strongest work to date entitled “The Redshift”. The successor of "Stuck Here on Snakes Way" continues to display their fine blend of Progressive melodies and Death-Metal aggression, yet in a more refined and extremely graceful way.
The Swedish producer was so enthusiastic about the songs the sextet so marvellously crafted that he even pronounced that a better record won’t be found in the following years.
So how does it feel to have the seal of approval of one the most influential names of the underground?

Markus - Sick things happen, like I wouldn’t never guessed this to happen when I was 13 years old and listening to “Spectral Sorrows” and “Unorthodox” by Edge Of Sanity and thought that this vocalist dude on those records are the coolest bad-ass on earth. But Dan is right, “The Redshift” is damn good record also in my opinion and I hope it gives some teenagers same kind of influential kicks to the ass than Swanö´s stuff have gave me.

Jukka - Well, of course it feels wonderful to be praised by one of our influences, and it was good working with Dan too.


So what was like working with Dan Swäno, a musician and producer that Omnium Gatherum have previously mentioned to nurture a profound admiration for his work with Edge of Sanity and Nightingale between others?

Markus - I noticed about year ago from internet that he has re-activated his famous Unisound studio and are back in track on mixing bands again, so I just tried my luck whether Dan would be interested to work with us, and for my surprise he was really interested about this. It was really cool to get him behind our forces and it was also really nice experience to work with him as he’s a really warm, down to earth guy even if he really is a living legend in this scene! We really shared same views since from the beginning and he did with the sound production just like what we were after on this one. Little bit some good old, little bit some modern, a bit borrowed and little bit blues on top of it!

I take it the band is happy with the end results, right? What were your expectations towards the album in the first place?

Jukka- Yes we are, extremely pleased with the end result! We really did not have any expectations or at least I didn’t expect anything concerning the album. We just had a good vibration and the chemistry between the band members was good, so the album turned out OK.

Markus- We’re very pleased on this one, the best OG songs, best entire wholeness, great production and cool cover. The whole packet really rocks and rolls and works for the really first time for the goddamn broadside 666%!! My expectation with this album was to make the most honest and fresh OG album for ourselves and to knock down the previous albums and that we really did. I’m proud of it and that’s enough for me, so others can only follow heh!

“The Redshift” sees a slight shift in direction towards a more progressive scope, specially the guitar leads, which have a very crystal clear and warm tone. Do you agree? In our previous conversation you suggested a return-to-the-roots approach.

Markus- Well I dunno, most journalists have again said to me that “The Redshift” is heading away from the progressive side of OG to a more straight-forward and melodic direction. I think that this album is more to our debut album direction in a way, but in a fresh way, it’s really not any “Spirits And August Light” part 2… Though, my own musical taste has slipped much more towards the dark side of the 70´s and 80´s progressive bands like Yes, Rush, Marillion, Genesis etc...

In your perspective what are the main differences between “The Redshift” and "Stuck Here on Snakes Way"?

Jukka - Well I think the main differences between the two newest albums are the fact that we as a band we know each other a lot better than we did two years ago. Also we composed these songs in a very fast but peaceful pace. And they turned out just the way we wanted.

Markus- “The Redshift” is much more melodic and sophisticated album again than the “Snakes Way”, and like I said, the new album is much more better in its entire wholeness and it sticks greatly together from the first riffs to the last notes and it still keeps fresh and interesting!

As a guitar player do you have any personal favourite track on the new album? I admire the progressive leanings and laidback mood of “Chameleon Skin”.

Markus- This time I’m proud of them all and there are no bad moments on the album where I should need to cough on top of the songs and riffs when I’m playing the album to my best friends, so I guess it’s a good thing, haha! Well, maybe “The Shadowkey” is my today’s favourite with the instrumental “Song For December...”, if I should say some songs here... “Chameleon Skin” is also really cool song and a blast to play live, some really fast down-stroke picking that gives you the really true and evil metal face look as it’s technically hard to pick!

This album was written in less than a year, does it means that the writing of new songs is an easy task for the band or you are just passing through a very inspirational period?

Markus- At the moment it was really an easy task as we had a really good vibe on the band and going thru a very inspirational period. I think you can really hear this rocking positive energy flow and freshness on the album!

What’s up with Omnium Gatherum and bass players, with every new album the band seems to be losing a new bassist and this time it was Eerik Purdon to exit?

Markus- Well, “The Redshift” was in fact the first album where our previous long-time bassist Janne wasn’t playing anymore as he had lost his interest towards playing metal music, which is sad as he is a great pal of us... So it’s not the same thing with every record, even though it now seems that on our next fifth album, coming somewhere in time in the future there’s again a new bassist then.

Jukka- Eerik had so many things going on in his life so he decided that he doesn’t have enough time for OG. There is a new guy on the bass, who will go with us to the European tour, but no final decisions are made.

In cosmology a redshift results from galaxies moving away from each other.
Is the title of the new album some type of metaphor for change or a need to evolve and get away from something?

Jukka - It can be understood like that, but the “main” concept of ‘The Redshift” is about inner and outer confidence and the absurdity of good and evil. But movement, very fast movement, is one of the things I like to present in these lyrics.

The cover artwork of the album was once again created by Olli Lappalainen, does it possess an association to the lyrics and the album title like it suggests?

Jukka- Yes, the artwork is connected to the lyrics, but everyone can figure out themselves what is the link between them…

Omnium Gatherum have been confirmed to play a portion of the Ithyphallic Europe Tour with Nile, Grave and Belphegor. What’s your opinion about the other bands on the bill and what are your expectations from the tour itself?

Markus- Looking really forward to start touring with this new album and see you all friends out there! Cool bands on this trek really, even though we’re a lot more melodic stuff than the other ones on the bill. Hopefully true European death-metal fans won’t kill us when we play this keyboard-spiced melodic pussy death metal there, haha. You’re going to see that we really have a much attitude towards this thing and we’ll be raising some hell with our live set! But should be a really good promotion for us to play these audiences that haven’t maybe heard us yet at all…

What other plans have the band stored for the following months?

Jukka - A lot of promotion and a lot of gigs! Nothing else matters!

Markus – Spending time on the road and seeing lots of crazy fans out there, a total domination!

More info at: www.omniumgatherum.org

Reunited Swedish Death-Metal act SEANCE has signed a deal with Singapore’s Pulverised Records for the release of the group's third full-length album, "Awakening of the Gods", which is tentatively scheduled for release before the end of the year.
SEANCE's current line-up includes long-time members Johan Larsson on vocals and bass, Rille Rimfält and Tony Kampner on guitars and Mique Flesh on drums.


"Awakening of the Gods" track listing:
01. Wasted
02. They
03. Your Time Has Come
04. Invocation
05. Flight of the Wicked
06. Murder
07. Choose Your Eternity
08. Forever Haunted
09. Revel in Death
10. Prisoner 666
11. Burn Me

For more information and audio samples, go to this location.

UK Doom-Rockers Orange Goblin have inked a deal with Candlelight Records.
Vocalist Ben Ward has issued the following statement on the band’s MySpace page regarding the choice of the label.
"Orange Goblin are very proud to announce a new era for the band with the signing to world renowned metal label, Candlelight Records. The number of vastly successful bands on the Candlelight roster is testament to the quality and the hard work that everyone involved in the label has shown us and we are very excited about settling down in a new home after the label problems we have encountered in the past few years. It's an honour to be on such an esteemed label alongside bands that have inspired us since the bands inception. I believe that with the Candlelight team behind Orange Goblin we can concentrate on writing the best material of our career and continue to tour as much as possible, hopefully reaching parts of the world that Orange Goblin is yet to plunder! We have already started writing new material for a release in 2009 and OG fans, in fact metal fans in general, are going to love how the new stuff is sounding. It's going to be a huge combination of Sabbath-inspired doom, filthy biker blues and more of the familiar booze-ridden Goblin groove.........Hold tight!"
Voted into the Top 10 Best Bands in the Terrorizer magazine Readers Poll Orange Goblin are working on a new album with the aim of releasing on September next year.

UK thrashers SYLOSIS will release their new album, "Conclusion Of An Age", on October 24 through Nuclear Blast Records. The album was recorded at Grindstone Studios with producer Scott Atkins and displays the artwork of Colin Marks of Rain Song Studios who has previously worked with STRAPPING YOUNG LAD, ABORTED and WHITECHAPEL.


A new song entitled "Teras" from the upcoming "Conclusion Of An Age" was recently uploaded on the band's MySpace page.

"Conclusion Of An Age" track listing:
01. Desolate Seas
02. After Lifeless Years
03. Blackest Skyline
04. Transcendence
05. Reflections Through Fire
06. Conclusion Of An Age
07. Swallow The World
08. Teras
09. Withered
10. Last Remaining Light
11. Stained Humanity
12. Oath Of Silence

According to a press release, the album's lyrical theme deals with "the direction in which the planet is heading and the consequences humanity will face. The album covers many areas but the main concept is the idea of mankind destroying itself through war, self-indulgence, religion etc., and how the earth is being ravaged by humanity to the point of being destroyed… but how the earth's might will eventually prevail!"

Meanwhile, Nuclear Blast posted a trailer for "Conclusion Of An Age”, which can be seen bellow.


For more information, visit www.myspace.com/sylosis.

Reunited Progressive Death-Metal group CYNIC will release their new album, "Traced In Air" on October 27 through Season of Mist Records. The album contains eight new songs which were recorded at Glendale, California with producer Warren Riker (DOWN, SANTANA) and features the artwork of renowned artist Robert Venosa (who worked with band previously on "Focus").



"Traced In Air" track listing:
01. Nunc Fluens
02. The Space For This
03. Evolutionary Sleeper
04. Integral Birth
05. The Unknown Guest
06. Adam's Murmur
07. King of those Who Know
08. Nunc Stans

Returning from the "Focus" era for the new eight-song, 35-minute effort are founding members Paul Masvidal (guitars/clean vocals) and Sean Reinert (drums) along with Sean Malone (bass), and joining the band in the studio is newcomer Tymon Kruidenier (guitars/growls).
A trailer for the release of "Traced In Air” can be viewed below.

CYNIC will be direct support slot on the OPETH European trek in November/December. The band has also been announced as the headliner for this year's ProgPower Europe festival, and will be playing a special extended set at the show. A U.S. tour will follow in early 2009.

04 Oct 08 Baarlo (NL) Prog Power Festival

17 Nov 08 Glasgow (UK) ABC (+ Opeth)
18 Nov 08 Dublin (IE) St. Vicars (+ Opeth)
19 Nov 08 Birmingham (UK) Academy (+ Opeth)
20 Nov 08 London (UK) Sheperd's Bush Empire (+ Opeth)
21 Nov 08 Bristol (UK) Academy (+ Opeth)
22 Nov 08 Nottingham (UK) Rock City (+ Opeth)
23 Nov 08 Manchester (UK) Academy (+ Opeth)
25 Nov 08 Amsterdam (NL) Melkweg (+ Opeth)
26 Nov 08 Brussels (BE) AB (+ Opeth)
27 Nov 08 Paris (FR) Elysee Montmartre (+ Opeth)
28 Nov 08 Toulouse (FR) Havanna Cafe (+ Opeth)
29 Nov 08 Bilbao (ES) Cafe Antzokia (+ Opeth)
30 Nov 08 Madrid (ES) Heineken Club (+ Opeth)
02 Dec 08 Barcelona (ES) Razzmattazz (+ Opeth)
03 Dec 08 Lyon (FR) Transbourder (+ Opeth)
04 Dec 08 Milano (IT) Alcatraz (+ Opeth)
05 Dec 08 Zürich (CH) Rohstofflager (+ Opeth)
06 Dec 08 München (DE) Backstage Werk (+ Opeth)
07 Dec 08 Wien (AT) Arena (+ Opeth)
09 Dec 08 Stuttgart (DE) Longhorn (+ Opeth)
10 Dec 08 Köln (DE) Live Music Hall (+ Opeth)
11 Dec 08 Berlin (DE) Postbahnhof (+ Opeth)
12 Dec 08 Hamburg (DE) Markthalle (+ Opeth)
13 Dec 08 Göteborg (SE) Brew House (+ Opeth)
15 Dec 08 Helsinki (FI) Cable Factory (+ Opeth)
17 Dec 08 Stockholm (SE) Debaser Medis (+ Opeth)
18 Dec 08 Stockholm (SE) Debaser Medis (+ Opeth)

For more information, visit www.myspace.com/cyniconline.

Themes of junkies, car crashes, slaves and prostitutes! This could be the plot of a new David Cronenberg screenplay but in fact it’s the announcement of the upcoming The Amenta album entitled “nOn” due for release on October 20th through Listenable Records. Built on the ideals of non-conformity and spontaneous creativity “nOn” subversively depicts the decadent and technological addictive flesh-world we live in. According to sampler and keyboard player Chlordane we should question all the information thrown at us by the prostituted media corporations that subliminally plague our minds with misinformation and meaningless garbage.
Read on for a better insight on the bizarre and extreme world of The Amenta.


Once dubbed as an extreme Black Metal act, Australia’s The Amenta are about to shatter such preconceived notion with their second full-length album “nOn”, which reveals a more aggressive, diverse and adventurous approach than previous work “Ocassus”. The band describes the new album's sound as a fusion of extreme metal, electronic noise and dub, clearly a left turn way from the sonority explored on “Occasus”.
The idea of being associated to a musical style like Black Metal pleased you somehow or there was in fact a conscious attempt to distance The Amenta’s sonority from such label? When you were writing the songs for the album were there any specific goals in mind?

“I never associated us with Black Metal, and I would be surprised to hear that we were. That said I have never associated my music with any genre of music. It is my belief that a band should never limit themselves with labels. Once you put your music out there then there will be thousands of people who will attempt to itemise and define your art. That is their prerogative as it allows them to classify music to make it easier to describe to a person. We are the artists. We don’t describe. We show. Why the fuck would we limit what we can show by saying “We are a Black Metal band” as that is rife with boundaries and “rules”. We are what we have always been, an Extreme Music band. The mindset behind these songs is exactly the same mindset behind “Occasus”. When we wrote “Occasus” we wanted to create extreme music that didn’t conform to anyone’s preconceived notions of style. And we did it. This time we know our studio and our technology better. When we have an idea we can immediately realise that because we have practised and we can make anything we like with our equipment. Our goals were, are and always will be to create music that will progress. That chases new ideas and never settles for the comfort of generic ideas.”

There’s also a change in the band’s image, which could be described as absent given the band choose to portray themselves in black costumes and masks and disclose precious little information on its members. Was this option a conscious one, like letting the music do the talking?

“We have always believed in appropriate presentation. The image shown in the ‘n0n’ photos what how we felt the band and the album needed to be represented at the time. It serves a basic need for us in the band for various reasons while also divorcing our music from ego. I think, if you look closely, that the image on the ‘n0n’ album is no less theatrical than that of the ‘Occasus’, however it is more appropriate for this album which deals with various subjects such as drugs, terrorism, media manipulation and politics. We have never given out information of our members. Not that it is a secret but just because we feel it is irrelevant. IF you see us in the street we will happily talk to you about the band but we do not believe that a band should be presenting and packaging their egos with their music. Especially as our band doesn’t function like a normal band. On this album we didn’t just have a five person band. We had guests, old members, various drummers and that is just the recording. The preparation contained even more people who are just as important to The Amenta. We don’t show our faces because our faces aren’t important. We have a photo because we then get asked this question. People do not understand the absence of ego in music. They believe there is some ulterior motive. There is not.”

The recordings of “nOn” involved several studios and various contributors and performers from three different countries, more precisely two drummers, six vocalists and two bass players. Was it difficult to gather all these musicians in the studio and why did you opted for this recording process?

“This was due to the organic nature of the album process rather than a preconceived plan. As the album was recorded over more that a year it often fell into place that someone was in town at the right time. Or a song may have lacked something and that person sprang to mind as someone we could use. We see people as instruments to use. If a guitarist wants a certain sound they might choose a Stratocaster over a Telecaster, we do the same with players. If we want a different sound then we find a person who has it. An example is the song Skin. We used a friend of ours, Nick Readh, because he had the right feel, a hard hitting garage sound. We used Jason Mendonca on ‘Whore’ because he had the voice we wanted. We chose studios for the same reasons. We recorded at The Gaelic Theatre because it is a big open room that would give us a good natural reverb. It’s a matter of finding the right tools rather than compromising and creating something that isn’t all it could be.”

As mentioned above some of these contributions include guest appearances from well known underground figures like Jason Mendonca from AKERCOCKE and Alex Pope from RUINS between others. How did these musicians end up collaborating with The Amenta?

“We toured with Akercocke in Australia during recording. We became friends with them and when we needed a spoken voice for “Whore” we immediately thought of Jason. We sent him the files and recorded some great takes which he then sent over. We went through them and picked the ideal take. Alex Pope is a good friend of ours. We had always wanted him on the album as he is a good friend and a very talented musician. He flew up on the day we started mixing and we recorded his parts for “Dirt” in a spare room of the studio while we were mixing in the other room. Despite the pressure he delivered some great takes and really brought the song to life.”

In 2006, The Amenta had lost the services of vocalist Cessium 137, who has since been replaced by a fellow simply known as XJX or RE. Was it difficult to find a suitable replacement for Cessium 137?

“This is the third interview I have answered that talks of XJX. I don’t know who this is. It seems people take information on the Internet as gospel. XJX is not our vocalist. The vocalist we do have is excellent. He has an amazing rang and his voice is a great instrument to work with when we are writing. It was very difficult to replace Cessium 137. We knew what we didn’t want in a vocalist. We didn’t want a typical metal growler or screamer. Those vocals sound cartoonish to me and have nothing to do with the message we are getting across. We advertised and fielded a lot of audition tapes. We found a couple that were really good and started working with one of them. A great vocalist but we ran into time constraints and it would not have been possible to continue for various reasons. We then found this guy who had completely gone under the radar when we looked around locally. He auditioned and with in a week we had demos for all of the songs. I think the vocalist will be a very important part of The Amenta.”

What does the album title “Non” signify?

“‘n0n’ means many things. The main theme of the album is that people look at something and do not think deeply about it. They make a decision based on a very surface assessment. This results in a binary thought process. Right or wrong, black or white, yes or no. Non is a prefix which means nothing without a word following it. Non-Inclusive, Non-Judgemental. Two very different meanings. It also represents two sides of two different binary equations: No and On. The zero in the middle is a third, a binary figure: 0 1. Pictorially it represents two characters circling a drain. These are just a few of the meanings. Put your own meaning on it. It’s as much yours as it is mine.”

“nOn” features themes like "Rape", "Cancer", "Whore", "Dystrophy", "Atrophy", "Slave", "Vermin", "Dirt", "Spine", and "Junky".
It seems there’s an entirely negative and nihilistic theme running through them, is there any sort of concept behind the lyrical work?

“‘n0n’ has many interlocking themes. There is the one I mentioned before, of Binary thought. This feeds into a manipulation of people by media. People believe everything they see on TV and never search out meanings our alternative few points. This feeds into politics as the new religion as people have their chosen God figure and his opposition Satan. People worship their fucking politicians and revile others but they are NEVER aware of what that person stands for. Ask them a detailed question about the politician’s beliefs or agenda and they are invariably unable to answer. Then there is the state of modern art as a postmodern stagnant pool. No one tries to do anything new any more. Specifically we attack the dire state of modern extreme music which is just a fucking joke. Finally we have a theme of people prostituting themselves. Selling themselves to the highest bidder for security. Selling out their promise because they are scared.”

Between all the decay and negativism exposed on the album’s lyrics is there any sort of positive message lurking behind them?

“No. I believed that the world could be changed. Now I know that is not possible. The world can’t be changed because the sickness that we sing about is one of society’s building blocks. You can’t pull it out without the whole thing falling down. Dirt is about this realisation. All you can do is distance yourself from society. Nothing you can do will change it. Society is shit but it will continue because it preys on weakness. And people are inherently weak. I don’t want anything to do with it. I want out.”

The band haven’t had the chance to tour Europe or the US yet, is that a scenario you’re willing to change with the new album?

“Of course. We intend to get overseas as soon as possible. It is just a matter of timing. We have been offered tours in the past that have been impossible because of line up problems or it being during the recording process. We will definitely be overseas, hopefully to both Europe and the US to support this album.”

Do you see yourselves relocating to Europe or US in a near future, a similar move that the Berzeker did a few years ago in order to give the band more exposure in the live circuit?

“Maybe, who can say? Who would we bring? Our band is a weird amorphous thing. If we can get the musicians then we will go. Maybe we can do it here. We need money. Money to tour, money to move and our main focus is new music so that has to come first. Who knows what the future holds. I for one would love to go.”

More info: www.myspace.com/theamenta