On their previous album the band has done a big change on the atmosphere of the songs, making them darker. On the other hand, on this album the keyboards have more modern sound. The riffs are heavy and make the band to approach a melodic death metal style. On the singing part, there are growls and clean vocals, by the guitarist, which are some of the best parts of the album. The electronic parts are once again a main characteristic of the tracks. The drums have a slow pace, and the blastbeats are almost disappeared.

‘ Infinity ‘ doesn’t tires you and it is an album that can be heard a lot of times. It is catchy and a little mainstream, but it isn’t something boring. It has ballads as well as faster tracks with a standard structure, but showing that they always improve these two decades of their existence. The production is very clear and every instrument is very well defined.

Crematory have been established as a gothic metal band, but they have combine different elements from different kinds of metal to give birth to their albums. As usual it is easy to find some Paradise Lost parts, but the band has made its own identity, which can be seen easily on their remake of the song ” Black Celebration ” of Depeche Mode.

To sum up, Crematory’s latest work is well worth to give it a chance and is a must for the fans of their other works.

Darski made headlines in his native country in September 2007 when he reportedly called the Catholic Church “the most murderous cult on the planet” during a BEHEMOTH performance in Gdynia and tore up a copy of the Bible onstage (see video here).

After the incident, Ryszard Nowak, head of the All-Polish Committee for Defense Against Sects sued BEHEMOTH for promoting Satanism. Although a court expert witness on religious matters said that the act of destroying the Holy Bible could offend somebody’s religious feelings (a criminal offense under Polish law), the case was discontinued because no one except Nowak accused BEHEMOTH of insulting their religious beliefs. (Under Polish law, there must be at least two formal complaints before a charge is laid. The previous complaint was made in 2008, and recently an unspecified number of other complaints had been filed.)

Nergal is pleading not guilty to the charge.

According to Metal As Fuck, in the first hearing, under cross examination, Darski stated what he does on stage is part of artistic license and it wasn’t supposed to offend religious feelings. However, an expert on religious history and studies from Jagellonian University in Krakow stated that every copy of a bible could be considered a religious icon.

There was no judgment ruled against Darski in the first hearing, but now that a second complaint has been filed, the matter will be heard by the courts.

If found guilty, Darski faces up to 2 years in prison.

In a 2009 interview with Decibel magazine, BEHEMOTH bassist Tomasz “Orion” Wróblewski explained that the Bible-tearing incident was by no means a spontaneous outburst. “We’d been doing that for two years on tour before it happened in Poland,” he said. “So, we had discussed it many times before. A BEHEMOTH show is a BEHEMOTH show, and BEHEMOTH fans are coming to a BEHEMOTH show. BEHEMOTH fans know what BEHEMOTH is about, know what the lyrics are about, and know at least a little of the philosophy behind the band. So, it’s kind of surprising that there are people coming to the shows and feeling offended with what we do onstage. If such a person comes to a show, he comes with the purpose of being offended, I guess, and it shouldn’t be like that. We’re not offending any particular person. We’re just offending the religion that we’ve been raised in.”

Source: www.blabbermouth.net

Tour-stress caused personal & musical differences, so both parties decided to go separate ways in the future.

MARC will concentrate on his rock-project “Volcano” and wants to keep himself open for other musical styles. He wants to thank all the DESTRUCTION maniacs worldwide and the band for all the great fun and support over all those years!

MIKE & SCHMIER wish him all the best and much success for his future projects.

All announced shows will of course go ahead!

DESTRUCTION are currently writing new material that will “ go more back to the roots”,  referring a statement from frontman SCHMIER. We are looking forward …

Source: blogs.myspace.com/officialdestruction

The drum tracks for “The Obsidian Conspiracy” were completed in the group’s hometown of Seattle with SOILWORK guitarist Peter Wichers, who previously worked with Dane on the singer’s solo debut, “Praises to the War Machine”. Longtime friend and collaborator Andy Sneap (MEGADETH, ARCH ENEMY, EXODUS, MACHINE HEAD) once again handled mixing duties.

The following songs (among others) were laid down during the recording sessions for the follow-up to 2005’s “This Godless Endeavor”:

* “Emptiness Unobstructed”
* “Without Morals”
* “And The Maiden Spoke”
* “Termination Proclamation”
* “The Obsidian Conspiracy”
* “The Blue Marble and the New Soul”
* “She Comes in Colors”
* “The Day You Built The Wall”
* “Poison Throne”
* “Beautiful Mistake”
* “The Crystal Ship” (THE DOORS cover)
* “Transmission” (THE TEA PARTY cover)

According to Dane, the song “And The Maiden Spoke” “is going to blow your minds; it’s twisted, progressive lunatic fringe riffing with vicious hooklines.”

He added: “These songs are full of newfound rage, lyrically and musically. Jeff Loomis has come up with some amazing new riffs that will no doubt please old and new fans alike. Also, I think the combination of Peter and Andy will result in something very, very special.”

In an interview with Cerebral Metalhead, Dane said of “The Crystal Ship” cover, “THE DOORS song was not my original choice. I really wanted to do this song called ‘Waiting For the Sun’.

“When I listen to songs, of course, since I’m a lyricist, I gravitate towards cover songs (for which) I admire the lyrics. Jeff [Loomis] being a guitarist, he goes for the guitar stuff that he thinks is really cool. And that’s how we came on THE DOORS thing.

“‘Crystal Ship’, originally he [Jeff] had taken the approach of making it a little heavy. And I tried to work with it and I said, ‘Jeff, I don’t think this is working. I think maybe what we should try is an all-acoustic approach to the song.’ And when we did it, he was like, ‘Dude, you’re totally right.’ And he was like doing five-layered guitar parts over this.

“When people hear it, it doesn’t sound like THE DOORS anymore. I think that’s what people expect when we do cover songs. ‘Cause we’ve been known to deconstruct and recreate more than one song.”

Source: www.blabbermouth.net

While the creative core members have begun writing the fifth album, they have also started a worldwide search for a new vocalist. “We are looking for a powerful melodic singer, to write a new chapter of DragonForce with us.” said guitarist Herman Li.

Anyone wishing to audition for the vacant position should apply following the instructions at this web address.

Source: www.dragonforce.com

It was one of these nights, where in the end you leave the place with a big smile on your face, having the belief that your money were worth the spending and the wait you had to see such a concert. What brings me more joy is that apart Behemoth, all fans witnessed two great Greek bands kicking serious ass and proving that the scene in our country is raising its level as years pass by.

The direct playing and straight to your face deliverance of the goods they offer, makes us hope about a better future in the raising of metal music in a country that always used to kill its own children in many ways.

First to enter the stage were brutal technical deathsters Terrordrome, natives of Thessaloniki, having the best drummer of Greece in their group, not luckily called Octopus. Together with their steady and talented bass player, they were the driving force of this bestial machinery. Their guitar player produces massive insane riffs that lead to groups like Dying Fetus and Origin easily. His hand goes up and down so fast, that you sometimes distract yourself from the outstanding growler they have. His vocals are even more brutal than in the album. The played two new songs which will be released as a 7” and the first sample of what follows is phenomenal. Satisfaction guaranteed.

Mass Infection are also an experienced band, having their new second album ready in a fresh situation, released some months ago, it got the band a step higher than their debut. However, their live appearances are not affected at all, regardless the material. And this is proved on songs like the title track of the debut album ”Atonement For Iniquity”. Their sound was much better than Terrordrome and their music got better through the audience. Eight frenzied songs and the band in tremendous shape. What a perfecto combination of Vader and Malevolent Creation in terms… The future is bright for both bands. They know what they want and how to get it. Well done to both of you!

Then everything got darker and the Polish assault of Behemoth began with their newest hit ”Ov Fire And The Void”, at first the crowd got frozen just before outbursting into screams of ecstasy and redemption. Next was the title track from the very well achieved ”Demigod” album, but this seemed to be just the warm-up for what was to follow. The affinity of Nergal on ”Shemhamforash” was something that few people have the opportunity to see live, and as he was totally out of control, with no hesitation goes on to play ”Conquer All” and Eightball is definitely conquered, as 400 people can’t believe their eyes and ears.

Alongside Nergal exists a well built force, with Seth on his right supporting with his riffs the leader of the band, and the ready for battle rhythm section of catastrophic drummer Inferno (so comfortable playing, not even a drop of sweat) and the colossal bass player Orion who really was the best presence on the scene, hard as a rock and banging his head together with Seth in the same relentless rhythm. With such friends and allies, who gives a fuck about enemies and contradictors? The set included the great surprise called ”LAM” from ”Satanica”, a track that still proves its worth through the test of time.

Behemoth continues without mercy on favorite tunes such as ”As Above, So Below” from ”Zos Kia Cultus”, shortly to be followed by one of the most brutal tracks in music history, ”Slaves Shall Serve”, where everybody is freaking out, mumbling hard to understand words and heads go up, down, left, right, sideways and backwards. All directions that is. That doesn’t mean that things ease, and ”At The Left Hand Ov God” completes the unholy trinity of these blasphemous heretics.

A short drum solo by Inferno follows as an intro to ”Alas, The Lord Is Upon Me” from the latest ”Evangelion” album, for which Nergal told us who proud he is.

Then the other surprise that followed was ”Antichristian Phenomenon”, a track I didn’t expect them to play and was surely welcome. Next was the moment all Greeks were waiting for. ”I want you malakas sing your guts out on this because you all know it: APO PANTOS KAKODEMONOS!” is the chant of Nergal and ”Decade Of Therion” tears up the air and heads explode leaving victims on the ground.

But this is not the end because ”Chant For Eschaton” is presented and it whistles through the hall a grim and rolling riff that was the end of the normal set. Until it was time for them to return under the demand of the fans.

Last but not least was the final track from ”Evangelion” called ”Lucifer”, a triumphant ending to a glorious live experience, with Nergal wearing his custom made mask looking like a minion in The Fallen One’s army, convincing in his every word and closing the song like a ceremony, where in the end they drifted away slowly like nothing happened the previous 70 minutes.

All in all, the band is in its best shape ever, with a great album as a package for which they do everything to promote. And you can tell what they do is pure brutality, they don’t pose, they don’t need to overreact. They just blast everything they can. Quality is the hidden truth here and if you want to do a favor to yourselves, don’t miss them live for the world.

Aggelos “Redneck” Katsouras.

Here we have a mixture of pure mid tempo black metal, quite lyrical and melancholic. Some doom rhythms here and there, but if this already seems quite cliche for a black metal release, then i’ll just have to step up to Imperium Dekadenz’s unique musical approach and performance style.

The guitars, are played super noizy, when it comes to electric sounding but the melodies are of those ones that stuck right into your memory forever. The vocal lines sound as growling and blackened as they ought to. As for the drums, although simple, they complete their role quite well, adding a whole strange atmosphere without high tempo blasts or anything else extreme.

But nothing would have made this release unique, if it weren’t for the keys , the piano and the elegant acoustic guitar melodies in between the songs. Two acoustic melodies’ interludes, an intro and an outro, and a whole song in the middle of the tracklist, place this release to my top ten black metal releases, as far as 2010 is concerned.

If you haven’s ever tried them, this is a nice chance to listen to something really difeferent and full of character. Imperium Dekadenz have their own opinion about how black metal should sound like, that’s why they’ve already stepped out from the masses.

We are talking about a glorious return to their first days, until the release of ”Goremageddon (The Saw And The Carnage Done), where they would blast everything alive in their wake. I never understood the reason they always compared them to Carcass, apart from lyrical issues. They have always been a band whose abilities were never questioned, no matter what the final result would be. Taking also for granted that they seldomly keep a steady line-up, we wonder what could have happened if things were in a more normal basis inside the band.

Of course, the leader and singer of the band Sven, is an experienced person who knows what and when to do it. This time he focused on speed and brutality, a totally different direction compared to their last full length ”Strychinine.213” which I found very interesting but many people didn’t follow his vision. A great wild card in this release is drummer Dirk Verbeuren, also played in Soilwork. He manages to blast everything and fill the four pieces they created with devastating rhythms. It’s as if he built a whole block himself just by his playing.

The title track that opens the EP gets you straight into the climate of the following 22 minutes, with its bombastic beginning, shortly to be followed by ”From A Tepid Whiff”, easily the best track of this release, even more brutal than the previous track. One of the most furious pieces of music ever for sure. ”Grime” and ”A Cadaverous Dissertation” are also great tracks, which try to include elements from all Aborted eras, from ”The Purity Of Perversion” to ”Strychinine.213”. The result was either way great on its own. But this is not the end.

They kept the best for the end, a marvellous cover of a track that changed music history two decades ago. Entombed’s ”Left Hand Path” is the last drop in a river of riffs and blastbeats, the perfect ending! I can clearly state that this is one of the best EP’s in metal history generally and if this was a full length release we would be talking for the highest peak in Aborted’s career so far. I am waiting with urge their new album, hopefully soon. I know I won’t be disappointed once they go on like this. Shock and awe!

Starting up with new kids on the block named Ruined Families (check out their blog http://www.ruinedfamilies.blogspot.com) the stage caught fire. These dudes are up to much aiming to spread the ‘not-what-we’re-used-to-listen-to’ sound playing a neat mix of crazy fast riffs accompanied by ear-ripping deafening vocals followed by slow jams along with overwhelming silence creeping from the mic. Spitting out their tunes with passionate rage and serious dose of originality I bet they left a solid first impression.

Putting in a high-energy performance, I Want You Dead from Patras might not have made all of us kicking each other to death, but that’s mostly ‘cause we’re a bunch of douches, that don’t nod their heads if it’s not Hatebreed or Slayer playing in our stereos. Jokes apart, the band was killing it with that ‘I’m-so-effin’-angry!’ attitude and badass hardcore beats in the vain of Integrity plus some crusty additions to finish it up. So once people stop plugging their ears with wet newspaper, this band will get the appreciation it surely does deserve.

Only in the middle of Endsight’s appearance you could observe a hint of motion in the front row. They’re no rookies, so once they hit the stage it’s all about solid ‘straight-to-your-face’ metallic hardcore. Their set contained blasts like “Before I Drown”, “A Falling World” and “Thoughts Are My Enemies”, providing a suitably pumping soundtrack for circle pits and widespread jumping fits.

Rise And Fall took the stage in a totally chilled and confident way. No need for long rigmarole and fucking around – “Soul Slayer” followed by “Built On Graves” and “The Noose” didn’t leave us any options, but to kick it as hard as it gets. Band was literally tearing the place apart – rushing all over the stage, swinging their instruments (and whatever other objects could be found) and pitching into all those screaming throats in the front. Soon enough it smelled like a sweaty stable after a gunfight, which only added to the whole hedonistic off-the-hook madness their party was delivering. The tunes are mind-blowing fast, heavy and dark, the vocals are giving you horripilation and at the same time are dragging you into state of hysteria and excitement.

Closing up with exhilarating “Forked Tongues” and giving an encore few minutes later, this definitely was a stunning end to a truly triumphant performance. One more time, please? In three words: furious, bewildering and explosive.

Marga Rarity.

So, after his last decent piece of work, “The Man That Would Not Die”, comes “Promise And Terror” which after its first listening, emits the same dark atmosphere as all its predecessors.

As regards the purely musical content of the album, well it moves into familiar paths of both heavy metal in general Blaze Bayley’s own musical characteristics. An example is the opening “Watching The Night Sky” which is very similar to “Man On The Edge”. After the second hearing, I am obliged to repeat what I’ve been repeating concerning Blaze’s band through all these years, that his band is not of equivalent value compared to Bayley. The result is the Bayley stands out and is ahead of the rest in performance something which ends in him being terribly alone.

Lyrically, the album follows the well-known patterns of personal search that characterise Blaze through all these years something easily found in “God Of Speed”, “Faceless”, “The Trace Of Things That Have” and “Surrounded By Sadness”. In his personal career after Maiden, things haven’t been easy for Blaze as he was left with nothing, especially during the time he didn’t even had a record company to support him in his work. Musically it is an album that contains fast, mid and slow tempo tracks. In a word, a typical Blaze Bayley album. However, although not innovative, Promise And Terror contains some fairly good moments with “1633″ (based on the novel of Eric Flint and David Webber), “Faceless” and “Time To Dare” to be the highlights of PAT.

Blaze Bayley has never been a “superstar”. However his sheer creativity and devotion, will always bring him the warm applause and sympathy of the metal community. Promise And Terror is nevertheless a very good choice for old school heavy metal fans in the beginning of 2010.