Named after a Vietnamese communist revolutionary that became prime minister and president of the Democratic Republic of Vietnam (thanks Wikipedia!) this Portuguese (yep! no Vietnamese) group practises a type of industrial-electro metal that’s heavily evocative of bands like Fear Factory and Spineshank. But hey, don’t runaway just yet, because Ho Chi Minh aren’t really that bad. In fact, they’ve made an enjoyable debut album filled with punchy rhythms and aggressive riffs. The Portuguese collective are fairly competent and have written songs that have power and aggression, but also have strong hooks and melodies that will stick in your mind. That’s not to say “It Has Begun” is hair-raising exciting or downright original since it reveals a few downsides that demonstrate that Ho Chi Minh still have some way to go in establishing a sound that is bound to steal our zealous attention and could be tagged as their own. The biggest issue with “It Has Begun” is the fact that it sees Ho Chi Minh falling into tepid formulas very easily, merely content on treading comfortable ground in the shadow of their influences. Basically, you have pounding rhythms and mechanized riffs peppered with sampled effects, verses growled with ferocious intensity and chorus sung with crystal clarity. While on the first few tracks like “My Decline”, “Aside” and “My Own Enemy” it actually sounds quite enjoyable and entertaining, from then on it starts to emerge as slightly tiresome and tasteless.
If Ho Chi Minh could throw away some the outlines inspired in Spineshank’s accessible and not so interesting electro-metal style, specially the rapping, and could stretch some of the most admirable ideas evidenced on the first three tracks to the entirety of a record, then they will be a damn fine band. (5/10)

Band info: www.myspace.com/hochiminh
Label info: www.myspace.com/ragingplanetrecordsportugal

Three years on from their critically acclaimed debut “Resonance” Portuguese doomsters are back with a sophomore work that clearly confirms them as great songwriters with an impressive and genuine affinity for miserable and dismal ambiences. Across six tracks, Process of Guilt create a gloomy and sorrowful sonic landscape few bands are able to achieve, it’s like wandering through a dark village deteriorated by age and ravaged by natural catastrophes. A bleak landscape bereft of any trace of life or any single colour other than grey and black. Though there are times where their songs can be overwhelming as well, with brief explorations of contemplative and shimmering melodies as if all of the suddenly a faint beam of light appears lurking behind the pale-grey sky and blackish clouds, restoring some type of hope to all the glominess and misery. Both “Dust” and “Waves” will journey listeners into such dark realms of the imagination for sure, they just have to switch off the lights, lie down and let Process of Guilt guide them. On these two tracks, the group casts out plodding and heavy riffs firmly rooted in doom/death metal (that’d be My Dying Bride, Shape of Despair, Novembers Doom, Swallow the Sun, etc) intertwined with submerged and sweeping guitar melodies that betray an infatuation towards post-metal acts like Neurosis and Isis. The album's success lies in these moments where Process of Guilt strays from the well-worn path and pitch into diverse moods and textures that tend to increase the mystery and intimacy of their compositions.
Overall, “Erosion” is an impressive album and is highly recommended for all the fans of the acts mentioned above. (8/10)

Band info: www.processofguilt.com
Label info: www.majorlabelindustries.com

The massive success Gojira have attained in the last few years a little everywhere have induced a lot more people to turn their heads and pay attention to what France has to offer in terms of heavy and extreme music.
One of the most interesting propositions I’ve heard lately is Eryn Non Dae, a young collective from Toulouse who peddle a style of music not too far removed from fellow countrymen Gojira, though the best possible description for their debut full-length work “Hydra Lernaia” would be Meshuggah meets Neurosis. See, END merges the polyrhythmic, low-tuned and frantic assault of the Swedes with the brooding and monolithic ambiences of the post-metal pioneers, creating an overall atmosphere that truly embodies the term “hybrid”.
On the opening, seven-minute plus track “When Time Elapses”, the pummelling, detuned guitars and idiosyncratic tempo shifts denote a fairly prominent Meshuggah influence, it’s so intense and so wrapped in labyrinthine arrangements that will leave you in state of pure bewilderment. The caustic screams of vocalist Mathieu, while limited in range, are heavily reminiscent of Jens Kidman, yet they totally suit the music. The following track “Blistering Hate” treads on similar ground, though it sees a slight increment of dissonance into their chugging riffage. “Existence Asleep” starts with Mika’s characteristic low-end bass rumble and sees a darker and denser atmosphere permeating their oppressive sound. And that’s probably the biggest difference between “Hydra Lernaia” and their previous EP “The Never Ending Whirl of Confusion”, since nowadays the French collective seem to favour denser and oppressive ambiences in detriment of ceaseless spasms of aggression.
For those who enjoy their music dark and intelligent, and groups that can merge together diverse musical textures and layers, you should definitely give a listen to this record, and hopefully it will see Eryn Non Dae grasping a similar buzz as Gojira. (7.5/10)

Band info: www.myspace.com/end1freefr
Label info: www.metalblade.com

Comprised of members from Beaten Back To Pure, Alabama Thunderpussy, Baroness and Burnt By The Sun, this all-star studio project (it’s confirmed that they’ll play their first show at Maryland DeathFest 2010) was created with the sole purpose of cranking out an old-flavoured death-metal with a southern-rock vibe. That’s exactly what is delivered in “The Hell Preacher,” their third full-length work in four years, a fierce and old-school death-metal leaning towards Entombed and Gorefest merged with a southern-rock groove. If you’re acquainted with both “Weight of the Wound” from 2006 and “Sulfer and Semen” from 2008 and appreciate the content of their songs, I believe you won’t be disappointed with “The Hell Preacher” since it treads on similar ground as its two predecessors. The only real sign of progression is lyric-wise, unlike the previous two works where vocalist Ben Hogg is taking the piss on several matters, the new work is a concept album telling the dark and twisted story of an inmate turned priest and cult-leader.
Musically, throughout thirteen tracks guitarists Erik Larson and Bo Leslie constantly churn out sulphuric and crushing riffs occasionally tempered with its right share of melody and groove, while drummer extraordinaire Dave Witte and bassist Summer Welch provide the usual stiff and potent rhythmic section, successfully creating an hybrid sound that will surely appeal to fans of Entombed and Gorefest circa “Wolverine Blues” and “Erase” respectively. These comparisons are incredibly evident on both “Blind Faith” and “Warriors of Mud… The Hell Fighters”, where vocalist Ben Hoog sounds massively like Gorefest’s Jan-Chris De Koeyer.
Bottom line, Birds of Prey aren’t offering anything new nor will they blow anyone out of the water with their Southern take on groovy death ‘n’ roll, but I’m positively sure that those of you ranking Entombed, Dismember and Gorefest among their favourite groups will surely fall prey under their dirty claws. (6.5/10)

Band info: www.myspace.com/birdsop
Label info: www.relapse.com
Distributed in Portugal by www.majorlabelindustries.com

Six years on from their critically acclaimed second album “The Perfect Is The Enemy Of The Good”, Burnt By The Sun are back to discharge what is supposedly their final dose of anger-filled brutality. “Heart of Darkness” is brimming with wrath and fury, making it their most savage and caustic output to date, so it's a shame that we'll likely never hear from them again.
Scratch the Surface quizzed drummer extraordinaire Dave Witte (Discordance Axis, Municipal Waste and Birds of Prey among others) about their will to put Burnt By The Sun on halt indefinitely and their downright nasty farewell album “Heart Of Darkness”.

Burnt by the Sun have regrettably announced that their long awaited third full-length “Heart Of Darkness” will be their last work. If that turns out to be the last of them, then I’m entirely convinced that Burnt by the Sun are going out in style with their strongest and most intense material to date. What made you decide to stop it here during a time in your career that seems to be very prolific and stimulating?

"First of all, thank you. We are glad you enjoy the record so much. The story behind the last record is, that we only reconviened to do this record for ourselves as we thought BBTS was a part of our lives that was missing since Mike and I left back in 2004. Since our departure everyone’s lives have progressed in different ways making it impossible for us to continue doing the band full time.”

I imagine that playing in a recording and touring metal band like Burnt by the Sun takes a lot of commitment in order to be successful and attain some recognition. Leaving home and being away from family is tough, plus the income isn’t always adequate so you’ve to get day jobs to cover all the expenses. During these 10 years of existence what were the strongest adversities that you all had to face and overcome?

“BBTS was pretty much always a part time band. No one could go out on tour all year long, so we had to be creative and clever and how we could maximize our time for touring. We didn't do the band to make a living, we simply made the band to please ourselves and write music that we want to hear and we were proud of. I would love nothing more than to do this band full time, but it's just not possible.”

What else do you all do when not on tour or recording for Burnt by the Sun?

“We all have full time jobs and families besides me. I'm the only one who doesn't have children and Mike will be a father for the first time this coming December. Some of us play in other bands as well, keeping those musical muscles in shape, ha ha.”

Turning into your new album “Heart of Darkness,” it has a more straightforward and fierce approach than the previous two works. Songs like “Inner Station,” “Cardiff Giant” and “There Will Be Blood” for instance are between the most savage and frenzied musical assaults I’ve heard this year. What made you move in towards that direction?

“The goal for this record was to strip it down to a raw element and make the most brutal and savage record that we have as a band. It had to crush everything we've done in the past and we are very happy with how it turned out. It’s a true release of negative energy, real anger. Not sugar coated, watered down or hipster in anyway.
It’s not perfect, it’s not forced, it’s from our hearts.”

What tracks from “Heart of Darkness” are you particularly fond of? I’ve read somewhere that “Goliath”, previously released on slip 7” with Car Bomb was particularly inspiring for the writing of the whole album, is that right?

“Correct, “Goliath” is the catalyst for this whole record. Basically John wrote this song and it’s what lured Mike and I back to BBTS. “Goliath” made us realize what was missing from our lives. My personal favorites are "A Party to the Unsound Method" and "There Will Be Blood" (which John and I wrote two days before went into the studio), but I love all the songs. They each have special moments for me and if they didn't I wouldn't want them on the record. I think this is our most solid consistent record as a group.”

On the new record you worked with Trax East Studios’ owner Eric Rachel, who have previously produced and engineered acts like God Forbid, The Red Chord and The Black Dahlia Murder to name a few. What was like to work with him as opposed to working with Matt Bayles (Isis, Botch, Mastodon, etc,) who produced the previous two full-length works? Are you completely satisfied with the end results?

“We are completely satisfied with Eric, he captured us at our best I think. Matt Bayles is amazing in his own right, don't get me wrong, but I think Eric really nailed it. We've known Eric for years and we've been going to Trax East studios since the early 90's, so it was a no brainer more or less. Eric is very easy to work with as well, very laid back and has great opinions as well as being able to get a great performance from you.”

Lyrically, the new record is heavily inspired in a novel by Joseph Conrad with the same name, where the author gives emphasis to the theme of the duality of human nature and all the atrocities mankind are able to commit. What was motif or inspiration that motivated you to come up with the idea of doing a concept album about Joseph Conrad’s novel?

“It just seemed to go hand in hand with current events and life in general. We are in dark times and there are a lot more to come I think. We are all feeling the effects world wide.”

Knowing how corrupt interests abound in the societies we live in and the darkness that lies within civilised persons, how much of this story is related to things happening in and around your own life?

“It has a lot do with it, like I just mentioned...current events are at an all time low, things are spinning out of control and crumbling. Look at our country for example, fear and lies are not only condoned they are enforced and made a standard. The dumbing down of society, the collapse of the economy, the greed and enslavement of healthcare, political personal agendas, religious fanatics, etc. We’re going on a wild ride.”

What are you all planning on doing in the future and after the demise of Burnt by the Sun?

“To keep on truckin’! Music is my soul and I'm its slave more or less.”

More info at: www.myspace.com/BurntByTheSun
Photos by: Scott Kinkade

Freshly signed to Relapse Records, Graves of Valor is a new group from South Carolina-US featuring former members of Through the Eyes of the Dead, a band that falls under the over-packed genre of death-core. I assume musical differences weren’t the basis of their decision to leave Through the Eyes of the Dead and start a new project ‘cause save for a thing or two, Graves of Valor practise the same low-end formulaic death-metal with modern touches of their former band.
Their debut full-length work “Salarian Gate” is well composed and proficiently executed that’s a fact, Graves of Valor know what they’re doing and they’re good at it, though they don’t come up with anything that we haven’t heard a million times before. Throughout 11 tracks you can experience straight-ahead blastbeats, grinding breakdowns, palm-muted chugging, swirling and vicious solos, guttural vocals intertwined with high-pitched screams. The band does seem to have an interesting lyrical concept about the Western Roman Empire, but elsewhere it is business as usual for a modern death-metal group, okay to crank out it once in awhile, but inefficient in inducing the appetite for repeated and constant listens. (5/10)

Band info: www.myspace.com/FROMGRAVESOFVALOR
Label info: www.relapse.com
Distributed in Portugal by www.majorlabelindustries.com

Made from members of well known acts like Beaten Back to Pure, Alabama Thunderpussy, The Last Van Zant, Baroness and Municipal Waste, Birds of Prey is essentially a studio-project created with the purpose of playing old-school flavoured death-metal with a southern-rock vibe. And that’s exactly what the quintet handed over with stiff conviction and tongue-in-cheek humour in their first two full-length albums, “Weight of the Wound” from 2006 and “Sulfer and Semen” from 2008. Their recently released third full-length “The Hellpreacher,” though it doesn’t lack none of their trademark groove and heaviness, it sees a slight sift in approach with Birds of Prey geared to piece together a more serious concept album about an inmate-turned-priest. Scratch the Surface approached the band by e-mail to find out more about this intriguing story, as well as to discuss the origins of a band whose sole purpose of existence is to smack out some crushing and groovy tunes. Vocalist and lyricist Ben Hogg was kind enough to answer to all the questions so, read on…

“The Hellpreacher” is your third release in less than four years, which almost makes it one album issued per year. How do you guys manage to stay so prolific, especially considering everyone is in different bands located in several regions of the US?

“Where there's a will there's a way. Erik is the prolific one. He's writes constantly and jams in a handful of bands at any one time. He's the one who initiates our getting together and studio time. Once he and Bo have enough music then they get together and hammer out arrangements. Then they bring the rest of us into the equation, one by one. I'm usually last. I recognize that doesn't explain our output level but that's all I got. Erik is a whirlwind of action. If it were up to me we'd pump out a record every 6 or 8 months, like Cheap Trick did in the late 70's. Really flood the market with shit. Motherfuckers don't do it like that anymore. Elvis was putting out 4 to 6 albums a year for christsakes. An album a year is very doable, especially when we don't waste time playing shows. All recording all the time.”

It’s well documented that Birds of Prey stems from a personal challenge of Dental Records’ owner addressed to guitarist Erik Larson to gather some southern-rock musicians with a creative itch towards death-metal and see the outcome. How did you guys become friends and collaborators in Birds of Prey?

“Hmmm, that is pretty much how it all came together. I knew Erik and Bo from playing shows together. I'll assume that's how everyone knew everyone. I didn't know Summer or Dave until we got together that first time. The original bass player that was approached was Danny Nick from Suplecs fame, but Hurricane Katrina ran that whole band to Arizona and out of our lives. We got Summer. One hell of a great back up plan if you ask me.”

On the new record, Birds of Prey’s take on southern and groovy death-roll is meaner and grittier than ever, though the music now also steers towards a more melodic and accessible tilt. In your opinion, what are the main differences between the new record and the previous one “Sulfer and Semen”? Was there any sort of concern to imbue the new songs with a heavier edge and still retain some listenability or it was just the way the music evolved?

“One of the advantages/disadvantages of being a project like Birds is that we don't over think anything. We get together and rip it out. What ever falls out of the speakers is apparently what the material is meant to be. We don't get to tinker with our thoughts too much. They come together raw. I think there are pro's and con's to this way of operating but due to our geographical differences, this is what we have. Beaten Back to Pure operate totally differently, we are prone to over thinking material and tinkering with minutia until our ears bleed.”

“The Hellpreacher” is a concept album about an inmate that turned into a priest, was it difficult to write about more serious matters and come up with an album story like that?

“Yeah it was a lot harder. I never knew what was entailed in writing a concept album. You can't know unless you've done it yourself. You have to have the tracks in order prior to writing word one. And the ebb and flow of the story have to make sense with the music on hand and everything has to wrap up in a specific number of chapters. The writer in me is proud of how it came out. I would have liked one more chapter but you get what you get.”

I’ve read vocalist Ben Hogg stating that there’re some similarities between this character and David Koresh, the leader of a religious sect involved that was killed in a FBI siege in 1993. What can you tell us about the whole plot of “The Hellpreacher”?

“I am Ben, so you've come to the right place. Any similarities are coincidental. Outside of both people being cult leaders that is the end of the similarities. If you notice, all cults have a similar mode of operation. Mind control. Fear. Abuse. Strange relationships under the banner of "love". Those are simply unavoidable similarities. The plot is about a guy who leads a group of whores and miscreants to the Montana woodland and digs a giant underground chapel/home/cave with mixed results at best. For more specifics read the words.”

Birds of Prey are confirmed to play at Maryland Deathfest in 2010 and this will be the band’s first official show. Are you nervous about the prospect of playing in front of thousands of peoples possibly without a single rehearsal?

“Fuck that, if we don't get to rehearse than I ain't doing it. I don't plan on getting on stage and looking like a fool. It is a weird place for a debut gig, but we've all played a million shows. None of us know each others personal dynamics on stage. It's bound to be interesting. My hope is that we can at least be in the middle of the pack and aren't the laughing stock of the fest. I'm sure we'll only get 25 or 30 minutes, I figure I can do anything for that length of time.”

What else can we expect from Birds of Prey in the future besides the Maryland Deathfest 2010 appearance?

“I don't know. That’s all I know. I think Relapse wants us to slow down our output so I doubt we'll have another album out until 2011, but that's purely speculative. Hey man, we just take it as it comes. It's all we can do. In the meantime I'll sit back and watch Baroness and Municipal Waste become huge stars.”

More info at: www.myspace.com/birdsop
Photos by: Chris Boarts Larson