Scratch the Surface wishes all the best for 2010 to all the bands, labels, promoters, readers and friends that have supported us throughout these past two years. Without you, this wouldn't have ever been possible! Cheers to 2010!

Plutonium Orange
Featuring members of Swallow the Sun, Finland’s Plutonium Orange weave together an awesome amalgamation of music genres, putting their fingers upon everything from Black Sabbath right through to Metallica, Monster Magnet, Danko Jones, The Hellacopters. The end result is gritty, high-powered and full of killer riffs, definitely a band to keep an eye on.


Oblique Rain
Hailing from Portugal, Oblique Rain fuses the despondent and dark melodies of Katatonia with the progressive intricacies of both Opeth and Porcupine Tree. So, how can you go wrong when you intertwine influences from three of the most engaging and interesting bands of this decade? The band’s second full-length record ‘October Dawn’, just recently released, is a stellar work that will surely appeal to fans of the aforementioned acts.


The Dillinger Escape Plan
It’s fair to say that the forthcoming ‘Option Paralysis’ is an important album for The Dillinger Escape Plan; in a unexpected move the New Jersey group signed with French independent label Season of Mist last year, claiming that the music industry is changing and they needed to readapt to those changes. Their fourth effort will reveal whether or not The Dillinger Escape Plan are still in the leadership of a genre they’ve helped create, while still being able progress their sound into uncharted territory.


Deftones – Eros
Enshrouded in tragedy due to the terrible car accident that victimised bassist Chi Cheng (now steadily recovering from a coma), Deftones’ new album ‘Eros’ was initially planned for a spring release but was postponed to 2010, as the band was unsatisfied with the way it turned out and decided to rewrite some parts of it. Honestly, Deftones remain one of the most fascinating and distinctive bands in the world and has yet to disappoint, so expect nothing but pure brilliance from ‘Eros’.


Mnemic
One of the most overlooked bands in the recent history of metal music, Denmark's Mnemic have always produced solid and quality metal with industrial leanings. While most of fans of the genre are attracted to the prospect of a new Fear Factory album with Dino Cazares back onboard, I on the other hand am keeping an eye on Mnemic and eagerly waiting for their forthcoming album ‘Sons of System’.


Men Eater
I've had a soft spot for this band ever since their debut album ‘Hellstone’ came out in 2007. Their powerful and groovy stoner rock had a certain charm that conquered me immediately. Two years forward, the Portuguese four-piece are back with their sophomore work ‘Vendaval’ and it doesn’t fail to impress. Men Eater have fined-tuned their skills to top performance and their music roars like the engine of a muscular Mustang V8.


David Alexandre

1- Mastodon – Crack the Skye
Touted as the ‘next Metallica’ and ‘Metal saviours’, Mastodon are clearly the most important metal band of this decade. There is no other act in heavy and extreme music running today that manages to constantly push the envelope into new sonic directions with each album released without making some distressing miscalculations. ‘Crack the Skye’ sees the band further experimenting into a progressive-rock sound and is a must-have for any lover of heavy and well-crafted music.


2- Alice in Chains – Black Gives Way to Blue
Opinions may have been divided over Alice in Chains’ comeback album. While some were anxiously waiting to hear the outcome of the newly reincarnated group following the tragic death of vocalist Layne Staley seven years ago, others simply dismiss this as another half-assed attempt to capitalize on former glory. Truth is, although ‘Black Gives Way to Blue’ is not an instant classic like ‘Dirt’ , it’s nonetheless a damn good record that grants a second lease of life to Jerry Cantrell and Co.


3-Megadeth - Endgame
David Mustaine sometimes sounds like a jealous prick, always bitching about the past and how he was kicked out of Metallica. Sure, Megadeth’s leader and mastermind might not be driving Ferraris and Lamborghinis or shopping at Dolce & Gabbana nowadays, but he has more than enough reasons to be proud of himself and get over the trauma. Simply, Mustaine and Co.’s new album ‘Endgame’ pisses all over ‘Death Magnetic’, a genuine and heartfelt thrash-metal masterpiece overhauled for the new millennium. ‘Endgame’ sees Megadeth doing what they do best, THRASH.


4- Baroness – Blue Record
‘Blue Record’ is the second full-length release from Savannah’s Baroness; the group have steadily climbed their way up the ranks of heavy music following in the footsteps of their comrades Mastodon. Falling somewhere between 70’s progressive rock and the intricacies of Mastodon, this new album stands on the shoulders of their debut ‘Red Album’ released in 2007. It builds on the characteristics of their established progressive, sludgy and crusty sound whilst bravely venturing into new musical territory.


5- Coalesce - OX
‘OX’ is Coalesce's first album in ten years, and fans will rejoice to find out that the band's predilection towards genre-defying experimentation remains intact. Boasting off-kilter rhythms and a complex math-core riffage, ‘OX’ is an engaging record displaying all the elements that made Coalesce so damn special from the very beginning.


6-Amorphis - Skyforger
Majestic and brooding, ‘Skyforger’ is the ninth studio album from the ever reliable Finns Amorphis and third featuring current vocalist Tomi Joutsen. Like Amorphis's previous two records, ‘Eclipse’ and ‘Silent Waters’, ‘Skyforger’ is a concept album chronicling the tales of mythological characters from the Kalevala, in particular the blacksmith Ilmarinen. The stunningly beautiful first single ‘Silver Bride’ is a definite standout on what is a tremendously good record.


7- Kylesa – Static Tensions
Must be something in the water or the air, because just like Mastodon and Baroness, Kylesa hail from Georgia and just like their comrades have made one of the most surprising and engaging records released this year. Since their self-titled debut released in 2002, their musical style and sound have been honed, progressed and perfected and Kylesa finally hit the mark with their fourth studio album. The tracks have the usual sludgy and psychedelic vibe, but this album is blessed with a particularly strong progressive-rock melodic sensibility.


8-A Storm of Light – Forgive Us Our Trespasses
On ‘Forgive Us Our Trespasses’, Josh Graham and Co. have brought in a number of guests and collaborators, including former Swans vocalist Jarboe, Primitive North’s vocalist Nerissa Campbell, singer, poet and author Lydia Lunch, and multi-instrumentalists Carla Kihlstedt (Book Of Knots, Sleepytime Gorilla Museum) and Marika Hughes.
The results are creepy and eerie, with slow thumping funereal riffs coupled with mournful strings and the harrowing voice of the man responsible for Neurosis visuals, a cryptic ambience clearly not indicated for the feint of heart.


9-Blut Aus Nord - Memoria Vetusta II - Dialogue with the Stars
Blut Aus Nord is an avant-garde black metal group from Mondeville, France. ‘Dialogue with the Stars’ is the sequel to their critically acclaimed 1996 album ‘Memoria Vetusta I - Fathers of the Icy Age’ and it sees the three-piece returning to a more traditional black-metal style after flirting with electronic and industrial elements on their most recent offerings. Epic and ethereal guitar melodies permeate a more caustic and dark black-metal soundscape, making Blut Aus Nord one of the most innovative and interesting bands in the genre.


10-Lamb of God – Wrath
‘Wrath’ is bursting with powerful, infectious riffs, vicious grooves and virtuosic performances. Some accuse Lamb of God of being repetitive and derivative, but the truth is, when it comes to bring out some straight-up, aggressive and solid metal in the tradition of Pantera and vintage Metallica no one does it better than these Virginia fellows. Much better than its somewhat lacklustre predecessor ‘Sacrament’ from 2006, ‘Wrath’ is an essential purchase for 2009.

David Alexandre

Far from your ordinary stoner-rock act, Montreal’s Barnburner combines the raw vigour of 70’s rock ‘n’ roll with the warm melodies of the NWOBHM and a sludgy/groovy twist, making their sound distinctively their own. The band was recently snapped up by the powerful Metal Blade Records, who is giving a worldwide release to their debut full-length record ‘Bangers’, originally released on the small Canadian label New Romance for Kids.
David Alexandre traded e-mails with vocalist and guitarist Kevin Keaglesmith to find out more about this young and surprising Canadian band.



Well first, I’d like to thank you for taking this time to answer our questions. I bet that there’s a lot going on with Barnburner at the moment. You’ve just released your first record ‘Bangers’ on independent Canadian label New Romance for Kids, and since then have signed a record deal with the powerful and well-known Metal Blade Records, who is going give a worldwide release to the album on 2010. What have you guys been up to lately, thrilled with the opportunities that lie ahead?

“We have actually just been doing a lot of writing lately, trying to finish the songs for the next record before we start touring lots for ‘Bangers’. Hopefully by the time we finish some touring we will be ready to jump in the studio and keep the momentum up.”

Barnburner are still largely unheard outside their native Canada, so give us some background on the band. Were you all friends before the start of the band?

“We actually met through mutual friends when I first moved to Montreal from Vancouver and was looking for dudes to start a band with. Some of us had met prior to playing together but for the most part it was just through music connections.”

What were your first reactions when Metal Blade approached the band with the offer for a worldwide record deal?

“Really excited. I have been playing in bands for years and Metal Blade as always been one of the major goals for me as far as a label goes. We were really surprised when they initially approached us, I sort of figured we weren't heavy enough to be on such a label so I would have never predicted them being interested. As a metal fan though, it is a dream come true.”

What’s been like since you signed up with Metal Blade, have you noticed a surge in interest in the band since that?

“There was a surge right away for sure, we still have heaps of work to do though, and we aren't at a point where we can just sit back and let things roll on their own. Metal Blade is a big step but we still have a long way to go before we can hopefully do this full time.”

The band’s debut generally received great reviews in the press, have you been surprised at the hugely positive reactions to ‘Bangers’?

“I am really happy with the response for sure. It has been surprising to hear what people have to say about our sound and what not, comparisons that I would never have made myself but nevertheless accurate and flattering."

Sonically, the record is rich and infectious in the best way, merging some retro influences from 70’s rock and 80’s heavy-metal with a more modern, groovy and sludgy edge. How would you describe the overall mood of the album?

“I think the way you just described it is one of the best I've heard. We often just get the proto-metal comparisons like Sabbath, Maiden, Thin Lizzy, which are accurate in their own right, unavoidable influences. I try to correct people though because we have tons of contemporary influences and strive for something beyond just replication. The early influences obviously did it best and we can't help but make nods at them, however we want to try to carve something original at the same time.”

The band’s website cites Thin Lizzy, Iron Maiden and Fu Manchu as some of the strongest influences for Barnerbumer. So, these were three of the most important names for shaping the band’s sound? Which other names could be called influential and noteworthy?

“The dudes at Metal Blade put that together for us, which I would agree with for the most part. I would say there is a lot of newer comparisons you could make, I would like to think that bands like Mastodon and High on Fire make their mark. The greatest influences for us would most likely be our friends bands, Priestess, Children, Bison B.C.. Having more exposure to those bands that you play with have the strongest impression.”

There is a particular song that grabbed my attention for its title alone and that is ‘Beer Today, Bong Tomorrow’. So, are you guys doing any of that lately?

“Haha, yeah the imagery that one evokes definitely gives the impression that we like to indulge, which I will not deny. It's funny because I wrote that song as a sort of story about a dude who is hitchhiking and gets picked up by the devil. The riffs have a serious stoner quality so the implication of Beer today, Bong tomorrow sort of implies the party element of the tune combined with a hint at the actual lyrical content. We also just like goofy song titles.”

Finally, what’s next for Barnburner once the album is out on Metal Blade, What touring plans are on the horizon for you guys?

“The album comes out in February and will include 2 new songs, so those who have the original can be enticed to check out the new version, which is also remixed and remastered. As for tours we are still piecing things together for the spring, hopefully we'll be on the road consistently for the next year.”

David Alexandre

More info at: www.myspace.com/theinfamousbarnburner

Over the years black-metal as a musical genre and philosophical interpretation of life was largely misunderstood by folks who’ve interpreted Nietzsche's thoughts towards individuality and will to power as merely following some dress codes that could be considered repugnant to some conservative societies and proclaiming some blasphemies against Christianity and religion. Nowadays it’s becoming increasingly common to encounter musical collectives that don’t seem to care for none of that and firmly refuse to follow the herd -see Wolves in the Throne and Krallice for an American example- choosing instead to create their own and individual vision of black metal. Brooklyn’s Liturgy are one of such bands, a brief look over their promo shots reveals four normal-looking individuals wearing casual clothes. Yet it was these four that crafted a minimalist, grim, dissonant and blizzardly fast black-metal sound exhibited in their debut recording “Renihilation” that could rival with the grimiest and disgustingly-looking band coming out from the depths of Norway.
Intrigued by the nature of this American black-metal, António Matos Silva quizzed guitarist and vocalist Hunter Hunt-Hendrix to get a clear insight into the inspirations and driving forces behind Liturgy. Read on…



First of all I have to thank you and congratulate you for one of the best records I've heard in the last years. I mean, if there's a "modern black-metal" thing going on, you are it. Your sound, so thick, so intense and beautiful, how did you got there?

“When I was a teenager I was crazy about the classic Norwegian black metal bands. Then I found out about black metal in Eastern Europe and in France, but I never liked USBM very much. It seems to me like America has never developed a distinctive black metal of its own. Even though there's so much of it, most of it is just a pale imitation of the European model. So part of the idea is to create a genuinely American black metal. I've always listened to lots of other style of music, stuff like minimalism or free jazz, not to mention the arty experimental punk that we've had now in Brooklyn for so many years. It seems to me there could be a black metal that's spontaneous, chaotic and free, but that leaves out a lot of the clichés. For me, black metal became a container to put in all sorts of other stuff, and since I wasn't socially connected any black metal scene, there wasn't so much pressure to play in a certain way. I don't know. That probably had something to do with it.”

One thing I find extremely interesting is that you have no lyrics in your songs. Instead we have these high-pitched screams, which kinda rips one apart. Why is that?

“There are lyrics in fact, though they're only included in the vinyl release. But you're right that the screaming is pretty free-floating. But then there's a lot of black metal like that. Generally in black metal the vocals have more to do with adding intensity than something like conveying lyrical content. So as far as vocal style goes, I don't know if we're doing anything new.”

You have to explain two things to me: Renihilation and Pure Transcendental Black Metal. Pretty huge both, right? What are you going for there? Is there any ideology, philosophy for you?

“I can't speak for the rest of the band, but yes, for me there is a philosophy behind the music. Philosophy and the question of ethics are very important to me; because it's very easy to fall into despair or anxiety. The idea of a ‘no’ to nihilism, which comes from Nietzsche, is very meaningful to me. So I call that renihilation. Whether or not Liturgy is post - black metal musically, it certainly is biographically. Misery is what originally made me want to make black metal. For me, personally, I needed to transform black metal from an expression of nihilism into a transcendence of nihilism. That's the personal reason, but I think it also translates into a question for culture at large, and especially counterculture.”

You have violence and also ecstasy in your music. Sometimes, I like to compare it to a phoenix rebirthing from its ashes. It kinda sounds a bit gay, I know, but it really feels like something beautiful coming out of all that chaos. How do you manage doing it, how is your composing process? Any rituals, any particular inspirations...?

“I actually haven't written anything for years. The music on ‘Renihilation’ was composed between 2006 and 2007. This was my process at the time: I'd sit with my guitar plugged directly into headphones through a distortion pedal. I was living in a dorm room, so couldn't make too much noise. I'd improvise tremolo chords, basically waiting to stumble upon something that sparks a feeling of ecstasy. There is a sort of trancelike state that goes along with that, but it's hard to explain. Anyway, I record it then loop the recording, and do the same process for guitar and bass. Then I'd record the whole thing on my laptop. The last thing I'd do would be record a drum machine track. At first the drum machine was just an afterthought. But with the ‘Immortal Life' material, I began to modulate the tempo expressively to complement the arc of the harmonies, which I thought was very exciting. Now I call that the "burst beat".

Living in NY, you have a lot of inspirations from various backgrounds. Seems to me that Swans, Sonic Youth, Krallice, Glenn Branca and why not John Zorn were influential to you guys. Do you also want to break some barriers with your music?

“I don't think breaking barriers can ever successfully be an end in itself. I think when you resolutely follow your interests you automatically break barriers, just because everyone's an individual. So if you're really honest and resolute, you'll automatically do something original. No one has ever had quite the same constellation of influences as me, so if I'm true to what I think is beautiful, it's probably going to sound new."

Religious connotations are also something that goes along with the band: from song titles to album covers... How come that black-metal and religion can be connected? Are you guys religious in some way?

“Yes, religious in some way. It's hard to say what way that is. It's more of an artistic spirituality, a belief in transcendence through music. The Romantic composer Scriabin wanted to write a symphonic work that would spark the apocalypse. He died while working on it. The title was ‘Mysterium’, which is also the title of one of our songs. There's something like that; it's hard to express. The transcendence in Branca is similar.”

I know you started as a one-man band/project but then changed to a four-piece. How did that happen? I imagine you wanted to start playing live...

“Yeah, I mean I went for years without showing my music to more than a few people, my closest friends. There wasn’t much of an audience for black metal in the music scene in Brooklyn. In any case, I needed to be making the music. Then I began to perform live, solo, but it was of course very different, lots of loop pedals, chanting, experimentation and improvisation. Eventually I wanted to be able to play the actual music I'd composed for the records. Then Greg, Tyler and Bernard all moved to Brooklyn at the same time, and were happy to join the band, and all of a sudden we were playing shows. It was very sudden and spontaneous.”

I really need to ask you this: where the hell did you found Greg Fox? I mean, that's a hell of a drummer. And he only uses a snare!!

“We met early in high school. I saw a guy wearing a T-shirt that said "drummer", and asked him if he played drums. He did, so we started a band, which we had for all of high school. We split up to go to different colleges, and I started Liturgy as a solo project. That's where I developed the burst beat, the accelerating blast beat, by turning up and down the tempo knob on my drum machine. I didn't think a real drummer would ever be able to play the burst beat, but when Greg came back from college he rose to the challenge. It worked out really well that I had this unique vision of a way to play drums and that he had the feel and stamina to pull it off. I think the burst beat is almost impossible to play. I'm in awe when I watch him do it.”

How do you react to accusations that Liturgy are part of an invasion of metal by pretentious Brooklynite hipsters?

“I don't know. It's basically true, so if that's upsetting to anyone they'll just have to choose not to listen to us. It's hard to say what a "hipster" is, but the members of our band are attuned to art, have eclectic taste, dress in a certain way, and in any case are not really metalheads. It's only because of where we're from. I'd only protest against an accusation that this meant that the music is somehow ironic or disingenuous. All you have to do is listen to hear that it's totally sincere black metal.”

So much of the message of traditional black metal explores themes of individuality — the individual’s hatred, his sorrow, his isolation, his triumph over god and government. Is any of this in Liturgy's ideology or inspirational themes?

“Yes, but only as something to transcend.”

I profoundly believe that you created something that will change the way people listen to black metal and how many people will play black metal from now on. Do you feel like conquering the world after this?

“I'm very curious about the future of black metal. I mean on the one hand it's the most esoteric genre in extreme metal. Then on the other hand it isn't even really metal at all, and there's something universal about it. And it's this global cultural phenomenon because of Varg, the church burnings etc., though that has nothing to do with the true black metal listenership. I think the culture of black metal is so fascinating, almost like it's important historically in a way that I don't even understand. I just think it's a lot deeper that most people realize, especially the people who keep copying the surface aesthetic of the second wave in Norway.”

Do you already have plans for a second full-length? Don't forget Portugal on a next tour!

“Yes, I'm working on new material right now. The main plan for 2010 though is touring. We plan to tour extensively in 2010. We will definitely come to Portugal as soon as we can!”

António Matos Silva

More info at: www.myspace.com/liturgynybm

Following a very auspicious debut recording named 'Renounce', Process of Guilt return with an album that confirms all expectations created around them. Their sophomore record 'Erosion' demonstrates that the group from Évora - Portugal had no fears in expanding their sound beyond the strict limits of a somewhat rigid style of music as Doom-Metal, incorporating new nuances from several other musical sources without ever betraying their own essence.
We set out to know more about the writing process of 'Erosion' and its main sources of inspiration from vocalist and guitarist Hugo Santos.


Three years after a surprising and favourable debut named 'Renounce', Process of Guilt return with a truly colossal new work that confirms all expectations created around the group from Évora. 'Erosion' is a more mature record in comparison with its predecessor and even though it maintains the primordial characteristics of Process of Guilt intact, at the same time it also manages to transfigure and be innovative, embracing new elements that result in plenitude.
In this second work it is noticeable an evolution towards new musical paths like the post-metal of Neurosis and the minimal shoegaze of Jesu, do you feel that this was something that appeared naturally during the composition of the new songs, or you had a preconceived idea to imbue slight changes into the song-writing methods for the new album?

“The phase of composition of 'Erosion', besides being sufficiently different from the one of its predecessor, corresponded to a concise period of time where we really dedicated to the elaboration of an album where everything functioned as a whole.
Deep down, 'Erosion' represents the point where, musically, we would like to be when 'Renounce' came out, so this time we could go deeper into what we really long for our own sonority, trying to detach it from the more obvious associations that had been made in previous releases.
However, the incorporation of these new elements was for us more like the refinement of details that already were part of our language than properly a conscientious decision to follow into one determined path.
But we tried to purge the music that we were creating of everything that we considered unnecessary in order to create something that, it our point of view, approached more the true feeling that we were aiming for this album.”

As such, it doesn’t seem improper to state that the Process of Guilt of today does not fit comfortably in a musical style like Doom-Metal in its more orthodox meaning. Although it is a little ungrateful to ask for a musician to define his own music, how would you define the current sound of Process of Guilt?

“If we restrict the Doom spectrum only to the Doom/Death tag, we do not identify with it at all, however, is certain that, for the most part we continue to be a band with a very Doom cadence and we declaredly assume this facet since this slower rhythm is natural in us.
However, we like to think about our music as not being strictly limited to that label, acknowledging that are indeed other influences related with everything that surrounds us, either in our daily life or musically, that gets reflected in our music. In this point, beyond the influences related with Doom, I think that you can find references to some sludge, to some material more atmospheric or even some melodies post-something (in lack of a better description) that we look to translate, always with our own touch and where the dark is enhanced."

And how do you see, with a natural distance since the album as a finished product already co-exists with the band for some months, the evolution of the band from the first work 'Renounce'? In your opinion, which are the main differences between the two albums?

“'Erosion' is, in everything, a more mature work and, in our opinion sufficiently different from its predecessor. We could say our first full-length album consisted of an assortment of songs that we wrote throughout the two years that had preceded its release. As such, it is natural that it was still glued to some of the influences that we heavily possessed at the time. 'Erosion' corresponds to period different in all aspects, given that from the composition of the songs to the entrance in studio, passing through the process of mixing and mastering, everything was done in a very distinct way, starting right from our own personal approach to the process. Our last record continues to be the one with which, still today following some months, we identify the most, recognizing our own intentions in each song.”

'Erosion', along with the previous album was captured and produced at the 5ª Dimension studios once again with João Bacelar (who follows the evolution of the group since their initial phase) sitting at the control panel. How did the recordings go in an environment that, I believe to be profoundly familiar for you?

“The environment is indeed sufficiently familiar for us and adapts perfectly to the objective that we were looking after for 'Erosion', given that we were searching for a feeling with a stronger impact close to our live performances. Therefore, it was important the incorporation of our sound technician throughout the whole process, in order to translate into the studio the energy of one of our live performances. We were also, sufficiently more organic in the way that we recorded all the instruments, avoiding overdubs and transporting into the recordings what we sound like in a live environment. In this way, the recording process turned out to be more efficient and focused, leaving us plenty of time for the mixing. The mixing phase was also fully integrated with the mastering process given that, after we spoke with Collin and expressed our objectives for the sonority, it was still possible to make some adjustments with a view to achieve the best possible final result.”

The band had given a series of concerts to promote the new album, and even had the chance to play at Madrid is Dark Fest in Spain. How is it for you the experience to play live and how has been the reaction of the audience to the new themes?

“After a mini-tour to present the new album, along with The Firstborn, we participated in some festivals like Vagos Open Air, Madrid Is The Dark and the Dutch Doom Days VIII, and especially these last two, the reactions of the public had completely exceeded any expectations from our part, as much at the level of the reactions from the public as to the search of our merchandise, and that strengthen our will to take our music even further. Even our participation at this year’s edition of Ghouls Night Out in Évora, in regards to the public’s reaction, completely exceeded our most optimistic expectations by playing in front of a crowd that in certain way have seen us evolve almost from our garage days. For us the experience to play live is, by far the one that we crave the most and where we completely commit ourselves to the interpretation of each song.
We try, above all, to create the adequate ambience from a musical standpoint, scenic, sound and the delivery from each one of us in order for the public to be able to get the best experience while we’re performing.”

'Erosion' seems to underlie a specific concept, with various themes describing a cycle and subtitled as parts or chapters of a single story. What is the lyrical concept of the album?

“The lyrical concept of the album is in fact erosion, from its physical angle to a more personal side. Given the cyclical concept associated to erosion and the force that it causes, all the lyrical content of the album is intimately associated with the music, the way that riffs and rhythms are played and how the words are placed.
We didn’t set out to reach for a strictly lyrical concept as we wanted to associate the lyrical and the musical components in a way that we had yet to accomplish.
More than the interpretations associated with the lyrics of the songs, which always have a personal source, what we were looking forward with this release was that, from the music to the lyrics and the artwork everything would function as a whole, and whose interpretation could also be sufficiently personal.”

Your music explores in a certain way an emotional territory divided between melancholy and desperation. Do you feel that music is a privileged vehicle to deal with these feelings, as if we were taking about some form of catharsis?

“We can say that, yes. The music that we create has definitively something of a cathartic effect with a darker side that is related with melancholy or desperation. We think that is the spectrum that better adjusts what we set out to create. It continues to be this feeling that moves us and stimulates practically everything that we make as Process of Guilt. The objective is always the creation of sonic landscapes possessing a feeling of involvement that grows and inspire us as performers and listeners, hoping that throughout the process, we could find something more than only the sound coming out of the speakers.”

More info at: www.processofguilt.com

David Alexandre

What can we say about Sacred Steel? These guys have been around for 12 years now, seven full-lengths released, a couple of splits and a live album. They play power-metal, with everything good and bad the genre implies: fast drums, high speed guitar and falsetto vocals - sometimes they're even laughable.
Lyrically, well, Sacred Steel are the typical power metal band: epic battles against Satan and other deities, supernatural owls and ditties, wizards and sorcerers... Well, you know the usual.
‘Carnage Victory’ is just another release that adds nothing to the music business. It's quite repetitive and boring and sometimes it seems like they try to emulate a mix of Judas Priest with Jethro Tull, in a bad and not memorable way.
The vocals seem to be the weakest of this record, where the rhythm section has a good but useless effort. Good for the fans of the band and genre, not worth of a try for other listeners.
Why Germany seems to be such a fertile ground for the power-metallers will remain a mystery to me.
(5/10)

António Matos Silva

Band info: www.myspace.com/truesacredsteel
Label info: www.massacre-records.com

Power trio and a mighty one. Rest the ones who think that death and thrash are lost causes.
If death and thrash need to be reinvented, this is the way to do it, back to its origins. USA has Revocation and the UK has Gama Bomb, two of the youngest and still greatest bands that the next decade has to offer us.
Please, but please, stop comparing. This is way much better than Megadeth and the latter Arch Enemy records. They do remind me Testament and Death, kind of a good mix of both.
Nice music in here: you have these jazzy breaks in the middle of the heavy-thrashing, classic power-solos (like the good ones from Steve Vai and - why not - Michael Ammot in Carcass) and some Petrucci-ish solos too. Lots of groove, baby!
A fan or not of death/thrash, this is a mandatory listen for 2009, as it will make you understand how almost 30 years of metal can still be reinvented and probably will sound in the next years. It may sound repetitive from me, but this is the end of a decade and the beginning of another. Bands leave something behind and start to pick up other references, other styles. There's a lot you can do now. And Relapse knows that, as it picks the best and most innovative sounds for the 00 years.
You won't need more than two listens to be convinced and know these guys have it all. It blows my mind how these kids today have so much technique and will to do something new. And thank god they do.
The instrumental ‘Across Forest and Fjords’, ‘The Brain Scramblers’ and ‘Leviathan Awaits’ are the highlights, as it is also ‘Existence is Futile’. (8/10)

António Matos Silva

Band info: www.myspace.com/revocation
Label info: www.relapse.com
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