North American act As Eden Burns stroll through a genre that has long been deemed as over-populated and outdated, a brand of melodic Death-Metal highly influenced by Swedish masters At the Gates.
Don’t know about you, but I’ve lost count of the number of groups that have tried to emulate those “Slaughter of the Soul”-type riffs and the raspy shouts of Tomas Lindberg aeons ago, when it kind of reached a point where it seemed like cockroaches popping up from the shittiest restaurant you could imagine.
After a cautious listening, I must admit that As Eden Burns first full-length album “The Great Celestial Delusion” doesn’t quite rank among the best of At the Gates devotees but doesn’t fall into the worst of them either.
The song writing is averagely accomplished, with great melodic guitar leads interspersed between ferocious riffs being the most impressive aspect of the album, while the vocals, which veer between death metal growls and some caustic shouts and reveal a small The Black Dahlia Murder influence sound pretty generic.
“The Great Celestial Delusion” is basically 43 minutes of some punchy and melodic Death-Metal shaped by the finest Swedish moulds that unfortunately sound too formulaic and derivative for its own good. (5.5/10)

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

With such increasing number of releases displaying a social-political contestation bent for the Bush administration and the US government in the last few years it would be logical to presume that Willowtip offices are under the close surveillance of an obscure and ultra-secret organization working for the government.
“Cleptocracy” from US grinders Kill the Client picks up the torch and extends the bile against the current social-political situation in the US and OH BOY they sound fucking pissed off.
I’m talking about 18 tracks of relentless grinding fury bursting throughout 23 intensively chaotic minutes. Imagine someone holding two large backpacks walking into an international airport and screaming the names of Osama Bin Laden and Al-Qaida immediately triggering a torrent of chaos and maniacal behaviours that would be too damn close to the aural experience provided by “Cleptocracy”.
In other words, Kill the Client plays a ferocious and dirty Grindcore tainted with the crusty influences of Napalm Death and the insane savagery of both Brutal Truth and Nasum, occasionally widening their scope with the inclusion of slower and sludgy riffs that effectively prevents “Cleptocracy” from sounding a tad monotonous.
Considering the US are now facing a crucial time of change with the election of a new president, I just hope that Willowtip artists don’t run out of sources of inspiration that have been fuelling such brutal releases of lately. (7/10)

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

Moderately billed in Century Media ads as a promising act featuring former members of Ophthalamia and Marduk, it’s fair to state that Sweden’s Devian primarily caught the attention of press and general public thanks to the long musical pedigree trailing behind them, yet their first album “Ninewinged Serpent” showcased a group willing to cut the links with the past and set out their own path.
Although their brand of Blackened Death Metal displayed on “Ninewinged Serpent” did inevitably bear some similarities with vocalist Legion and drummer Emil Dragutinovic’s precedent work on Marduk it also proved that Devian don’t need that kind of name-dropping publicity and are perfectly capable of standing on their own feet.
If any more evidences are needed then their emerging second full-length will dissipate any doubts of their immense potential.
Scratch the Surface learnt more about the forthcoming “God to the Illfated” release from guitarist Tomas Nilsson.

Devian has done an extensive tour throughout Europe last year to promote their first release "Ninewinged Serpent" right along Vader, Septic Flesh and Inactive Messiah. What was it like touring for nearly two months in a row and what memories do you hold from that tour?

“I think we all got a little bit surprised by how smoothly everything went. The other bands, Vader, Septicflesh and Inactive Messiah, were all outstanding guys to hang out with and the booking agency, Massive Music, was really good working with.
No fuck ups or anything just two months of insane playing and crazy partying. Haha, we got a shitload of stories from that tour.
In Holland we had a big wrestling game within the band that ended with Emil hitting me so hard in the face that my glasses flew to hell and in the next second I was over him, wrestling him down to ground.
After one gig in Spain we had damn nice vodka after party with Peter from Vader that told us about the beginning of Vader and the struggle they had to go thru for being an extreme metal band in Poland. That was a night I will remember for long.
On the last night of the tour we did a Vader and Devian crossover and performed "Raining Blood" by Slayer together. In other words, loads of memories!”

Did you felt the audiences were still a bit unfamiliar with Devian's sonority considering your debut had just been released at the time?

“No, it actually felt like a big welcoming while entering the stage. Some staff from Century Media came to our show in Essen and they were bit late so we had already started the show. They told us afterwards that when they were entering the club they thought there was some kind of riot going on. Some places where better than others but in general it was a big warm welcome.”

So what was like the overall response to "Ninewinged Serpent", from press and fans in general?

“The press has been very positive. Especially Legion feels that this is a big welcome back for him. Some press has been more thrilled than other. I read somewhere that someone called this the best metal album from Sweden since “Storm of the Light's Bane” from Dissection. That's an honour!
This is just the beginning people…”

Meanwhile, Devian haven’t seen fit to rest on any of the laurels they’ve garnered with “Ninewinged Serpent” and already recorded a follow-up called "God to the Illfated", which is scheduled for release in December.
Was the band brimming with new ideas following the tour with Vader and eager to step into the studio again or there were already a lot material laying around ready to be committed into tape?

“We had written the first songs even before the Vader tour. We brought all the demos and a laptop on the tour and were arranging and recording stuff on the road.
For the new track we recently uploaded on our Myspace “Assailant”, I was already writing the first parts of it in Sweden, and then in France we changed the intro and stuff, on another day off in Austria we finished the solo part and then finally we finished it off in the rehearsal room when we got back home. So… some of the tracks have been written and arranged in different countries, it's amazing what you can do with the stuff today!”

Did the label pressure the band in someway to keep things rolling at such intense pace in order to maintain the band's name as active as possible?

“Century Media mailed us on the tour and asked when we could record the second album. We looked through the demos we had on the laptop and told them to give us one month after we have gotten home from the tour and then we'll record a second album. We're a very creative band with a lot of creative minds.
I can tell you that we already have a shitload of material for future Devian songs.”

"God to the Illfated" certainly doesn't sound rushed in anyway, yet the differences between the new release and its predecessor "Ninewinged Serpent" are minimum.
"God to the Illfated" certainly sound more refined and mature than "Ninewinged Serpent", yet stylistically the formula doesn't stray too far from the one explored on the debut work perhaps there's a greater emphasis on the Thrash-driven riffs.
I understand the new album is the result of a collective effort whereas the previous release was written on a more individual basis, right?

“Ninewinged Serpent” was mostly written by Emil and Legion at their home studios. Jonas contributed with a few songs and arranged Emil's and Legion's riffs so they became more guitar orientated.
Some of the songs were never rehearsed before the recording session. “God to the Illfated” is mainly written by Emil, me and Joinus. We brought ideas to the rehearsal room before and after the Vader tour and jammed and fused them together more as a band.
So the new album is more a team effort than the first one. My contribution to song writing process brought a more melodic touch this time. I think “God to the Illfated” is a huge step forward for us.”

So how would you say Devian have evolved both musically and as a band during this short period of time?

“The tour really fused us together. We are more and more becoming a brotherhood than just a pack of friends. We have grown together as a unit and I think you can see that if you see a Devian concert.
When it comes to the musical issue we are moving forward all the time and getting better and better together.”


Is there a theme running throughout "God to the Illfated"?
What can you tell me about the lyrical themes of the album?

“You can say that “God to the Illfated” is the next step of “Ninewinged Serpent”. There is no theme like on a King Diamond album, it's deeper and more for the beholder to find out.
The basic idea for “Ninewinged Serpent” was the fall of the rebel angel. Enough is enough, if you can't raise a kingdom here, then you go somewhere else where you actually can raise your own kingdom.
“God to the Illfated” is the dawn of a new order where this demon is rising and he's making himself a God, a new God and a God to the Illfated ones.”

"God to the Illfated" was once again recorded at Art Decay Studio with Rickard Kottelin, yet this time Devian opted to hook up with Hypocrisy/Pain mastermind Peter Tägtgren for further production work and mixing of the album at his The Abyss Studios.
What made you decide to bring Peter Tägtgren for some readjustments in the production work and for the mixing of the new album?

“Legion has worked with him in the past so it was an easy decision to make. For me personally it has always been a dream to go to The Abyss studio and record. So many good albums have been made there!
It was a real honour to do this and it was so cool to discover that Peter is this down to earth guy, a real workaholic that has given his mind and soul to music. When Legion and I got to The Abyss studio he had been working with the drums and the bass sound and we were so excited when we heard what he had accomplished.
He also put his touch on the vocals by coaching Legion and he even did a guest performance on one of my songs and that was a real dream coming true for me, damn I was happy! Haha, I actually made him do a “Roswell 47” scream in the end of the song. Listen to "I'm the Pariah" on the new Devian album and you'll hear it!”

Devian will embark on a European tour this January with bands like Deicide, Samael and Vader on the bill.
What kind of expectations do you have regarding that tour and do you already have plans to tour more extensively throughout Europe?

“I think the whole tour will be a blast! I'm so looking forward to it, going out on the road again and with that bill! It will be very cool to share stage with such big names every night for those weeks!
After this Winterfest tour we just go home and change the strings on the guitars then probably I'll be down at the gym for some good pack of time and then 4 weeks later we'll be out on the road again to do a tour in north of Europe with Unleashed and Belphegor.”

Finally I understand you're a massive Guns n' roses fan, so do you care to share your opinion about their long overdue "Chinese Democracy" album.
Did you already had the chance to hear some of the songs?

“I have this long time friend here in Sweden. We have been waiting for this album for like 14 years (just like the Guns n' Roses song hehe) so I will not listen to a single tune from that album before I meet him the 13th December and then we'll have this huge Guns n' Roses party and do some heavy drinking and just let it spin all the night long.
Damn… I have been waiting for this album for a long time. It will surely be interesting to hear it. Legion actually called me today and said that he just heard it. But I… I will bide my time until December.”

More info: www.devian.se

I’m not sure what exactly means Brutal Mystic Mpressure Metal, but Russia’s Mystical Gate plays a brand of Death-Metal with some electronic and symphonic tendencies that occasionally brings to mind the Greeks Septic Flesh during their “Revolution DNA” days, which as some of you might agree was not a particularly fertile period for them. Well, “Out of Control” sees Mystical Gate walking through a similar path blending a restrained Death-Metal attack with guttural vocalisations along with electronic sounds and symphonic orchestrations and although some songs reveal signs of promise and creativity, the album on the whole lacks some cohesion and focus.
Though “Out of Control” is well produced and well executed, and there’s an understandable effort from the band to infuse the songs with some identifiable traits and diverse dynamics, the outcome result unfortunately ends up sounding way too generic and synthetic. There’s precious little here that could distinguish them from the hundreds of groups competing for a spotlight position in the underground.
Well, perhaps their future recordings could benefit from the input of an outside producer since it was front-man Sergey Priest that produced, mixed and mastered the whole record. Sometimes it’s important to have someone from the outside that can look at the songs with a certain distance to trim down some superfluous material and enhance potentially rich arrangements. (4.5/10)

Band info: www.myspace.com/mysticalgate | www.mgbrutal.com

Anyone familiar with Norway’s Virus will know the music they produce belongs to that weird and rather unusual movement of Norwegian artists spearheaded by acts like In the Woods, Ulver, Beyond Dawn, Ved Buens Ende, DHG, etc that don’t fit in any particular genre or definition.
Neither should it be a surprise to learn that Virus consists of Carl-Michael Eide and Petter Berntsen from Ved Buens Ende and Einar Sjursø from Beyond Dawn, well seasoned musicians responsible for some of the most compelling and audacious music coming from Norway in the last decade.
Well, past the unavoidable introductions we should now focus on “The Black Flux”, the follow-up to their considerably odd debut “Carheart” released in 2003 by Jester Records, a label founded by Kristoffer Rygg also known as Garm from Ulver. It’s curious to find out that Virus had compared their new work to a David Lynch movie whereas “Carheart” was seen as a Monty Python-type release. Mostly because there are several moments throughout the album where the overall effect is like stepping in the weird and noir Club Silencio from “Mulholland Drive” and watching some weird group dressed in black suits performing some of the most dissonant and hypnotic harmonies as the background music for a bizarre show with dwarfs and other surreal characters. Virus have somehow reshaped their sonic endeavours and their sound is now darker and more disturbing recalling the musical soundscapes Ved Buens Ende used to delve through before their swansong. The songs have overall a slower pace and the rhythms are hypnotic and repetitive with the guitar of Eide constantly churning out dissonant and labyrinthine chords and his haunting vocals echoing the wails of grieving souls. Sometimes it reminds me of Madrugada inebriated with absinth twisting some Voivod riffs along with members of Arcturus.
It’s weird and of difficult digestion, yet it reveals an elegance that is genuinely addictive just like a David Lynch movie. No hay banda. (7.5/10)

Band info: www.myspace.com/czral
Label info: www.season-of-mist.com

Perhaps for Grindcore enthusiasts Phobia really need no introduction considering they’re one of biggest and most revered bands spreading aural havoc around the world under the flag of Grind nowadays.
Meanwhile, for those unacquainted with Phobia’s wrecking sonority, it should suffice to say the US quartet plays a blend of Grind-Crust music pioneered by bands like Napalm Death circa “Utopia Banished” that is utterly vicious, abrasive and downright nasty, yet it equally retains a level of catchiness and immediate impact that should appeal to fans of new-school Grind of Nasum and Pig Destroyer.
Although “22 Random Acts of Violence” doesn’t surpass their incredible strong debut for Willowtip Records entitled “Cruel”, it’s nevertheless a strong work with most songs barely reaching the one-minute mark. Like its title suggests, there are 22 bursts of violent and savage Grind played at highly frenzied speeds that last no more than 29 minutes. Things cannot get anymore abrasive and compact than this that’s for sure and although some of the songs tend to sound a bit undistinguishable from each other, Phobia expertly throw in slight variances in tempo and riffs that add more interest and impact to the overall outcome. That said, there are a handful of songs that stand out like the chugging force of opener “Bring the War”, the Hardcore fury of “Protest/Solution” and “Depression Is A Killer” with its brief glimpse of melody-driven Punk.
The production work courtesy of John Haddad (Intronaut, Abysmal Dawn) could have been a bit better, the bass lines of new member Leon del Muerte (not his real name I’m sure) are practically inaudible and the insane drumming of Danny Walker sounded a lot more sick and smacking on previous work with Scott Hull from Pig Destroyer handling the soundboard.
Still, “22 Random Acts of Violence” doesn’t disappoint the more avid fans of Phobia and Grindcore in general since it displays 22 moments of pure aural destruction. (7/10)

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

“Hels Vite” marks a new beginning in the career of Swedish group Thyrfing with the introduction of new vocalist Jens Rydén formerly of Naglfar as the replacement for Thomas Väänänen, who departed last year along with guitarist Henrik Svegsjö, following a whole decade holding the microphone in the band.
Surprisingly, even though the Swedes lost two key elements in their formation, “Hels Vite” doesn’t deviate very far from the path Thyrfing have been carving for over a decade now. Perhaps the addition of Jens merely added a breath of renewed enthusiasm to the band’s sonority, but otherwise the new work could simply be regarded as a natural follow-up to its predecessor “Farsotstider” from 2005.
Translated as “The Penalty of Hel” and influenced by Scandinavian mythology, “Hels Vite” essentially sees Thyrfing continuing their remarkable journey through the mysterious, dark and richly atmospheric world of Pagan/Folk/Black-Metal. Most of the songs have a grandiose epic feel with triumphant passages that have a cinematic scope, evoking a wide variety of ambiences and musical landscapes. It could either serve as the perfect soundtrack for an ancient battle, the coronation of a noble king or the burial of a brave warrior. It’s replete with rich atmospherics and diverse dynamics courtesy of a masterful use of keyboards and the addition of gentle acoustic sections, yet it also packs enough vicious aggression throughout its serpentine and cold riffing and grim vocalisations. Personal favourite “Griftefrid” is good example of such diversity, high-levelled by grandiose choirs and orchestrations it’s a sublime song that can be simultaneously dark, ferocious and epic.
This is the sound of Thyrfing growing stronger despite of the recent adversities, the refinement of their already outstanding craft. (8/10)

Band info: www.thyrfing.com
Label info: www.regainrecords.com

Long heralded as one of the most significant and influential groups dwelling on Pagan/Folk Black-Metal, Sweden’s Thyrfing are about to release their six full-length record “Hels Vite” through Regain Records. The follow-up to their successful 2005’s work “Farsotstider” marks the debut of new vocalist Jens Rydén formerly of Naglfar following the departure of their long-time singer Thomas Väänänen. Guitarist Patrik Lindgren explains us how Thyrfing have managed to overcome the loss of two key elements.

Guess it were difficult and turbulent times for Thyrfing considering that guitarist Henrik Svegsjö have also decided to follow Väänänen’s decision to leave the band, during that period did you felt like giving up completely?

“Not really. Of course losing two members is tough, and it's sad both on a personal and musical level. But on the other hand, the four remaining members (which were also the original members), always felt confident and motivated enough to go on with the band. There might have been a passing thought now and then, but it was never anything that we seriously considered.”

Meanwhile, it didn’t take Thyrfing too long to find a suitable replacement in Jens Rydén, formerly of Naglfar and the force behind Profundi. What made you decide that he was the right man for the job?

“We knew Jens in person from before, and were obviously aware of his skills and experience as vocalist and front man. Also he lives in the same town as we since five years, so it was a natural choice, and he was also the first person that we tried out.”

How would you describe his adjustment to the band’s working ethics and musical evolution?

“Even though Jens is a person who does things to 100% and wants to be a part of composing and rehearsing, he approached the band with fullest respect and I think the chemistry was perfectly right from the beginning. He came up with many ideas for arrangements and also composed some music and lyrics. So even though it was nothing that we demanded or really expected, he became an important part of writing the album, something that we are really pleased with. Jens is well aware of the domains where Thyrfing operates musically and never really tried to change anything in that, just brought ideas and some new energy into it.”

However, Thyrfing have decided not to incorporate a new guitarist for the time being, relying solely on the services and guidance of main composer and founding member Patrik Lindgren for the recordings of new work “Hels vite”. Do you think that from now on, Thyrfing will function only as five-piece group recurring to the services of sessions members for live performances?

“I don't know, time will tell. We have not been actively searching for a permanent member, but things might change for the next album.”

Do you feel comfortable working as the sole guitarist in the band, not having another guitarist in the rehearsal room to exchange ideas or do you it might eventually limit the song writing process to some extent?

“I think there are two sides to it. On one hand it could be more inspirational and you get more feedback if you have two guitarists during the composing and recording process. On the other hand, you can get some more consistency and you can play all the guitars yourself on the album if you are alone, ha-ha! And when it comes to composing and feedback, both Jocke and Jens (and of course Kimmy) can play guitar too, so it was never really a problem in our case.”

Anyway, the loss of some influential elements of Thyrfing didn’t hinder the band’s evolution neither gets reflected throughout the new record. “Hels Vite” is a highly strong and mature release, displaying a confidence and excellence that surpasses their previous and wonderfully crafted works “Farsotstider” and “Vansinnesvisor”.
What were the most challenging elements and motivations for the creation of this new record?

"Thank you sir! I think every new album gets more and more challenging as you have more "good stuff" in your back catalogue to surpass every time. However, I think we somewhat eased up the boundaries and pressure this time, and just decided to go with what we liked ourselves. So I think compared to for example "Farsotstider" it was a slightly easier process this time.”

What does “Hels Vite” stands for? Can you give us an insight of lyrical themes you’re dealing with on the new album?

"The title can be translated as "The Penalty of Hel" or "The Fine of Hel", where Hel is the goddess and guardian of the kingdom of death in Scandinavian mythology. The lyrics can be stories from mind and thought, usually expressed through metaphors to make it more interesting for the overall experience and to go along with the atmosphere and feeling of the music.”

The band has also opted to include two new songs written in English on the new album, “Isolation” and “Becoming the Eye”. Did it convey these songs a better ambience to be singed in English?

“There is really no reason for the two English lyrics. Jocke just happened to write two that worked well for us. We have never been very consistent when it comes to the language of the lyrics.”

Thyrfing due to their personal and professional commitments is a band that doesn’t tour extensively in promotion of their records. Was there a time that you felt that you could be a professional musician, as opposed to someone that plays music as a hobby?

“Maybe. However, I think that we can operate somewhere in between. I mean, Thyrfing is more to us than what the word "hobby" usually refers to. There is also an artistic freedom and time for inspiration and recreation if you don't have to see the band as your main provider economically. But yes, there are moments when you think about it that way, I can't deny that...”

Nevertheless, I believe the band will make some appearances in festivals and occasional dates in selected countries, so what exactly are you planning to do following the release of the new record?

“We have a few festivals and gigs booked (see www.myspace.com/thyrfingband for up-to-date details). Thus far, it's mainly in Germany, but we some other stuff coming up too ... so hopefully it will be extended soon.”

Sometimes we just need music that will encourage us to hit the local bar, grab a beer and act like silly pricks with our best buddies. None of that pretentious overcomplicated or intellectual stuff that is in vogue nowadays, just some invigorating and instantly enjoyable tunes that will stick in your mind like super-clue and whose ultimate goal is to entertain. Viking Skull’s third full-length album “Doom, Gloom, Heartache and Whiskey”, like some of the best albums in Metal history was crafted with that purpose, to entertain the listener, pure and simple.
Initially regarded as a joke band that started off as a side project from UK’s badass group Raging Speedhorn, Viking Skull are now a slightly different proposition that possess little affiliation with said act. With vocalist/guitarist Roddy Stone steady at the wheel and featuring once again the services of US drummer Jess Margera from CKY, Viking Skull have penned a solid record that is roaring and rough, yet it continues to display their tongue-in-cheek humour from the very beginning to the end.
Most of the songs are really catchy, packed with memorable hooks that require very precious little thought. The title theme for instance rocks so hard, with such a groovy vibe that will force grandmas to lift up from the wheelchairs to boogie like there is no tomorrow. Displaying some repetitive and rocking riffs laden with a rather laid-back groove coupled with the liquor-soaked snarl of Stone “Doom, Gloom, Heartache and Whiskey” is more infectious than the influenza virus. The back to basics approach of “In Hell” has the name of Black Sabbath stamped all over it and also possesses a formidable and easily assimilating groove. Also worthy of mention is the filthy, sleazy rocking vibe of “Double or Quits”, a track that wouldn't sound out of place on WASP’s back catalogue.
I guess some will find our choice for album of the month rather dubious given the number of records issued recently that are better written, better played and better produced, but let’s face it! If the prospect of five individuals rehashing the most groovy and beefy riffs of Black Sabbath, adding the punk-rock edge of Motorhead and the dirty vibe of WASP doesn’t sound irresistible appealing to you that means you’re just a bloody poseur. Sip it up! (8/10)

Band info: www.myspace.com/vikingskull
Label info: www.myspace.com/poweragerecords

Taste Of Chaos Tour in Liverpool, UK - 29/10/2008
Atreyu and As I Lay Dying

Atreyu

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As I Lay Dying

As I Lay Dying

As I Lay Dying

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As I Lay Dying

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All photos by Joe Garland | www.myspace.com/kutthroatmedia

Unholy Alliance III Tour in Manchester, UK - 27/10/2008
Amon Amarth, Mastodon, Trivium, Slayer

Amon Amarth

Amon Amarth

Amon Amarth

Amon Amarth

Amon Amarth

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Mastodon

Mastodon

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Trivium

Trivium

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Slayer

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All photos by Joe Garland | www.myspace.com/kutthroatmedia