Tag Archives: Black Metal

Ten Of The Heaviest Bands From Australia

Australia one of the world’s biggest countries is known for having some of the most interesting and diverse animals on the planet. The country also has many bands that are as extreme and interesting as its wildlife. Here in no order are some of the country’s best metal and hardcore punk bands. Some of these bands are well known, but fans tend to forget that they are Australian.

Captain Cleanoff

Australia has been a full force for punk, hardcore and grind as early as the 70’s with classic bands like The Birthday Party. One of the bands doing it best today is the grindcore band Captain Cleanoff. With fun short songs and distinct drumming this band is a must hear for any fan of the punk side of grindcore.

Fuck… I’m Dead

The country also delivers when it comes to the more metal side of grindcore. Fuck… I’m Dead are a goregrind outfit from Melbourne. Their groovy sound should please any fan of bands like General Surgery and Haemorrhage.

The Amenta

From South Wales comes one of the country’s most overlooked and original bands. Formed as Crucible of Agony in 1997 the Amenta plays a fusion of death metal, black metal and industrial.  The result is a sound that is really heavy as well as haunting.

The Berzerker

One of the most well known grindcore bands, The Berzerker’s music is a good gateway to those looking to get into the genre. The band played an electronic music influenced death metal/grindcore fusion with some of the fastest drumming known to man. Live, the members sometimes wore monster masks and the shows were known for intense energy. The band is now broken up, but with all these recent reunions maybe one day they will return.

King Parrot

From Phil Anselmo’s Housecore Records comes the one and only King Parrot. The band plays a mixture of thrash, grindcore and sludge with parrot squawk vocals and comedic lyrics. They are mostly known for their live shows which consist of the band throwing water at the audience and vocalist Youngy mooning them the whole set. Last year the band toured with Superjoint Ritual and responses to their set were pretty positive.

Sadistik Exekution

Kinda like the Mortal Kombat franchise, this band loved using the letter K in the place of the hard C sound. Sadistik Exektion was a old school death metal band from South Wales. They were mostly known for their second album We Are Death… Fukk You!   This was a reaction to music critics mislabeling the band as a black metal band and also shows they had a sense of humor. Ironically their later albums contained black metal elements. Sadly this band is no longer together.

Nazxul

Most of the time black metal bands that use keyboards tend to be very cheesy. Nazxul are not only one of the exceptions, but are one of the best at it. The keyboards add great atmosphere and the vocals sound completely inhuman (in a great way). They played Maryland Deathfest in 2010.

Hobbs’ Angel of Death

Named after vocalist/guitarist Peter Hobbs, this hidden gem plays 80’s thrash in the vein of old Slayer though the band prefers to be labeled as “virgin metal”. Though a big name in Australia, they were always pretty obscure elsewhere. In recent years they have been getting more worldwide exposure, slowly making them a new favorite among old school thrash fans everywhere.

Portal

One of the strangest metal bands out today, Portal plays a style they call “avant garde blackened death metal”. Their sound is extremely heavy with ultra deep vocals and off beat droning riffs. They are also known for their bizarre on stage look which includes vocalist The Curator wearing various objects on his head. The band has played Maryland Deathfest in both 2010 and 2015.

Destroyer 666

Since the sub-genre’s inception, Australia has always had a plethora of blackened thrash bands. The greatest and most well known of these are Destroyer 666. Playing a take on this style that sounds really evil and really epic at the same time help make this three piece one of the best post-80’s thrash bands. In 2001 the band relocated to Holland. They are scheduled to play this year’s Maryland Deathfest and have their first new album in seven years to be released in late February.

 

Rotting Christ Frontman Talks Live Album, 25+ Year Career, And New Album

Sakis Tolis has been a core member of Rotting Christ since the band’s inception in the late 80’s. For decades the band has honed their craft of dark metal, blending the styles of gothic and black metal together. The time and resources spent has given them 11 full-lengths under their belt, with album number 12, Rituals, on the way in February of next year. This year saw the release of “Lucifer Over Athens”, a double live album recorded in their homeland of Athens, Greece, showcasing the band’s 25+ years of musical output. Recently I was fortunate enough to have an exchange with the frontman via e-mail, where he seemed overjoyed to say the least.

Regarding your double-live album: Just how difficult was it selecting 2 hours worth of material from a discography spanning 25+ years?

A pain indeed! 123 albums more of 150 songs in our career and we had to get the summary of them! A hard job indeed but after a lot of talks and philosophy we went ahead with a setlist that includes songs from our early demos through our very latest material. I hope the setlist satisfied at least a bit of our metal brothers around.

“Lucifer Over Athens” contains a bonus track from the “Katá ton Daímona Eaf̱toú” sessions “Welcome To Hel”. How did that track not make the album itself?

We always have bonus tracks for any kind of use extra editions limited editions etc etc… how did that sound for you?

I see you’ve contributed the keyboard tracks for past albums? Have you ever desired to have a live keyboardist?

We did once in the past but didn’t work. Man it looks awful on the stage playing keyboards, at least for our band…

Do you still like being referred to as “Necromayhem”?

Why not? If you want to call me like this feel free to do. I never forget my roots.

You’ve made it clear that the band name expresses your opposition to any religion. What do you think of the New Atheist movement?

Is there any? I mean a movement? Atheist movements exists since the ancient times… you mean atheist in our music? If yes, of course and its good.

NON SERVIAM brothers.

How is the new album coming?

Almost ready… I do not know man. I have been working since last year on that and I am not able to tell you how sounds or better; if its good or bad. It sounds dark though. With many guests, including our fans, who actually participated on the chorus of one song!

What can we expect from your sets on the upcoming tour with Mayhem and Watain? As varied as your live album? Or new material?

Both… in the little time we will have on stage… we will try to not disappoint anyone, and will include songs from all of our eras.

What is your desert island album?

BLACK METAL – VENOM

This is history and personally I have a strong respect for history!

Closing Remarks:

Thanks for your attention.

See you in on the road for some hellish shows around your land.
until then…

BE TRUE TO YOUR OWN SPIRIT

SAKIS/NECROMAYHEM on behalf of ROTTING CHRIST

Metal Artist Spotlight: This Is Black Table!

Geosonic Magazine Volume 1: The Mid Hudson Valley

Hailing from the deep dark woods of a mysterious land known as Monroe, New York comes Black Table! This four-piece formed in 2012 and refuses to fit into one metal sub genre. The band’s experimental sounds have gotten them some media attention as well as landed them shows with metal greats such as Vital Remains, Wolven Ancestry, Sig:Ar:Tyr, and Agalloch.

More recently they played The Shadow Woods Festival in White Hall Maryland. I had the pleasure of interviewing vocalist/guitarist Mers Sumida, guitarist DJ Scully, and bassist Ryan Fleming on how this young, unsigned band has gotten so far so fast.

On band’s sound:

Mers: I’d say experimental metal. We aren’t really black metal… maybe a little blackened, but I feel we don’t have a genre.

Ryan: Since we pull influences from many styles, I don’t think we gravitate towards anything really. We just play what we like and try not to really pigeonhole our sound.

On band’s name:

Mers: We wanted a name that didn’t really have any previous meaning. The goal was to have our music and personality  provide its definition. A table is a simple humble structure: it’s common and mundane.

On Shadowwoods Fest:

DJ: I loved sharing the stage with Sangharsa, great guys.

Mers: Slagstorm were really good they opened up the fest and I loved catching Falls of Rauros later.

DJ: Oh yeah those were good too, and Hivelords were fucking heavy.

Ryan: I have to say it’s my favorite show that I’ve ever played. Everyone was really cool! We wish we could stay both days, but we couldn’t since we had a show the next day.

On growing pains:

Mers: It took a while for us to be able to practice again in 2013. I didn’t have a job for a while, so I had no money for gas. Even when we aren’t doing anything I’m always writing songs, lyrics and ideas for the band.

Ryan: We wrote stuff for our new album during our hiatus. Since the writing process too so long we had different opinions on the products and ended up re-writing them. Though we weren’t playing we never stopped working, we wanted to get the stuff done.

How do you guys feel being a young unsigned band yet have tons of coverage and already play big shows?

Mers: We are always humbled and motivated by the support we get. It feels surreal a lot of the time, to know that people care about this thing you do that is very personal and vulnerable, at least for myself. It’s an honor. Music was my first expression so it carries great meaning for me.

Ryan: I’ve always been humbled that anyone takes the time to give our band even a moment of attention. As for labels, we haven’t really felt the need to look in that direction. We are extremely focused and know exactly what we want to do, so until we see a place where a label can elevate that, we are perfectly fine doing everything ourselves.

DJ: It’s great… While I think labels can still do bands a lot of good, they’re not entirely necessary if you have really have the drive and confidence to do what you want, and do it the way you want to.

Geosonic Magazine was put together by Doug McCausland in June 2013, showcasing multiple unsigned artists 
from a unique geographical location in the United States. You can contact him at dmccausland1(at)gmail.com

10 Metal Covers So Different, They’re Wasteful

In this writer’s opinion, a band can do a cover song injustice one of two ways (in rare cases both). One is by playing the song to a T, and adding no elements of what your band has to offer. For some reason the most occurring example in my mind is Joan Jett’s cover of “We’re Not Gonna Take It”. But this editorial is dedicated the other path of injustice, having a cover so different that it either is unrecognizable, or defeats the purpose of the original version. Now for those of you who think that I’m being “too mean” or that “a band has every right to do a grindcore version of “Genie In A Bottle”, I just want to make you aware that covers cost money. Yes, music law is a thing, and it states that your band must have a license for every cover song that it records and sells (even for streaming on Spotify and Bandcamp), and venues must obtain licenses if they are going to allow bands to play cover songs. My co-writer once spoke to members of Jungle Rot about the possibility of performing their cover of “Jesus Hitler” originally by Carnivore, and their response was along the lines of “we don’t want to deal with the paperwork”. A mechanical license can be very expensive depending on how many copies of your cover song you intend to sell. So I would imagine if your band was to do a cover song, you would want the perfect blend of originality and homage so that you would get a return on investment. But these 10 songs that I will now list, seem like a wasted investment and their efforts would have been better spent on just another original. I’m not sure if mechanical licenses were acquired for all of these. Some are so different that you could get away with claiming it’s an original. I’ve divided this list into 2 parts; 5 metal covers of metal songs and 5 metal covers of non-metal.

 

Forgotten Tomb – Depression (Originally by Black Flag)

You’ll understand why this cover is ridiculous at 3:06. First of all, it’s a good thing this band didn’t sell this record on iTunes because in accordance with their policy on 10 min+ songs, this cover wouldn’t be available for purchase unless you bought the whole damn “album”. Secondly, when there’s an extended period of feedback, it’s usually reserved for live shows, and it’s best when it’s accompanied by breaking instruments on stage. Other than a small minority of extreme noise fans, does anyone really want 7 minutes of feedback/wasted space on their music player?

 

Sunn0))) – For Whom The Bell Tolls (Originally by Metallica)

https://www.youtube.com/watch?v=IRLBCeC-uCk

West Coast weirdos Sunn0))) did several of these types of covers. Initially I thought they just played this Metallica classic 3x slower. But no. There are no vocals, and there’s not much variance in the riffs, as was on the original version. The band has been on record stating that this was meant to be a reinterpretation rather than a cover, explaining why there is literally zero resemblance to Metallica’s recording, sounding instead like a Sunn0))) original. Still, a music lawyer once told me that even rearrangements require a license. And why even bother slapping Metallica’s name on 10 minutes of drone doom?

Fun fact: The full title of this track (last track on “Flight Of The Behemoth) is “F.W.T.B.T. (I Dream of Lars Ulrich Being Thrown Through the Bus Window Instead of My Mystikal Master Kliff Burton)”

 

Tuathail – This Charming Man (Originally by The Smiths)

The guitar melody on this bears resemblance to the original, although the distortion makes this cover look like a troll. And the main importance of songs from The Smiths is Morrissey’s vocals. Replacing them with typical black metal vocals doesn’t do The Smiths justice, while the pop-esque melody doesn’t do black metal justice.

 

Amon Amarth – Aerials (Originally by System Of A Down)

https://www.youtube.com/watch?v=Jy_6Z7tto2k

Same case as above. SOAD’s vocalist Serj is one-of-a-kind. And while Amon Amarth’s vocalist Johann could be considered the same, he really should stick to what he knows, lyrically and vocally.

 

In Extremo – This Corrosion (Originally by The Sisters Of Mercy)

The token folk metal tune on this list. The use of folk instruments on this recording definitely bring something different to the table. Problem is that the instruments give it too much of an improper upbeat tone, while the original recording has a gothic tone that is too epic to be messed with.

 

Epica – Crystal Mountain (Originally by Death)

Sometimes you can sneak clean vocals into death metal songs and keep them good. But having a soprano interject in the middle of a death metal classic is just over-the-top. The addition of a symphony is pretentious as well.

 

Celtic Frost – In The Chapel In The Moonlight (Originally by Dean Martin)

Yes. Celtic Frost does Dean Martin. This song has a percussive track just like several of their originals from earlier works. Tom G. Warrior for the most part refuses to do actual singing on this as usual. As was the case with The Smiths, it’s injustice to a singer but now with a beat that sounds nothing like the original.

 

Crystal Viper – Tyrani Piekieł (Originally by Vader)

I can’t help but feel that this was done out of nepotism. Both bands are from the same Polish metal scene. This cover features Vader frontman, Piotr Wiwczarek, but as a backup vocalist for the most part, only having the lyrics in the bridge to himself . While this doesn’t annoy me as much as Epica’s Death cover, the clean vocals still defeat the purpose of this death metal track. The guitar tuning on the original recording was more aggressive as well.

 

Machine Head – Colors (Originally by Ice-T)

Given that this song was recorded when the Nu-Metal movement rose to popularity, it of course raised some eyebrows. Flynn’s rapping isn’t too different from Ice-T’s. So to give the song a twist, he inserted a few guitar techniques here and there. But pick scrapes can’t really hold a candle to record scratches in my opinion.

Vital Remains – The Trooper (Originally by Iron Maiden)

This is my example of a cover being unjust by being the same and different all at once. Before the death growls kick in, the guitars are played in the same way as the original. So the beginning sounds like power metal. Hence they’re trojan horsing their death metal on you here. In the past, death metal bands have covered metal classics. But in other cases, the riffs were made more aggressive and tuned lower.

Top 10 Metal Albums From 1995

1995 was a year for change in metal; mainstream groove metal was in full swing, old school death metal was dying out and being replaced with all kinds of spin offs, and black metal was starting to get mainstream attention. Many new ideas also started to come out of the genre, including several that are still influential in metal today. Here, in no order, are ten classics from that year.

[youtube http://www.youtube.com/watch?v=nCtjAmtIGf0&w=420&h=315]

At The Gates – Slaughter of the Soul

The fourth album by Sweden’s melodeath creators and the bands most well known, Slaughter of the Soul is more melodic than the band’s previous efforts and contains some of the band’s most well known songs. While not their best album, it’s still a solid release that helped evolve the sub genre.

[youtube http://www.youtube.com/watch?v=w8uw0L_csZk&w=420&h=315]

Immortal – Battles in the North

Immortal’s most well known album is one of the most popular Norse black metal releases. Like the previous two albums, the lyrics are about winter, fantasy and the forest. This is the first album to feature songs about the Blashyrkh, a theme that will appear on all later albums. A great album for those looking to get into Norwegian black metal.

[youtube http://www.youtube.com/watch?v=nhY6hy4Rfwg&w=420&h=315]

Abigor – Nachthymnen (From the Twilight Kingdom)

Abigor’s classic record succeeds in incorporating symphonic elements that are very subtle and don’t drown out the other instruments, while also containing very distinct riffs and vocals.

[youtube http://www.youtube.com/watch?v=hppxFR0KJDM&w=560&h=315]

Alice in Chains – Alice in Chains

Affectionately called Tripod by fans, the third Alice in Chains studio album displays the band’s usual sludge metal/grunge fusion with even more melodic songwriting sensibilities, mixing elements from the first two albums and the Jar Of Flies EP, making it the band’s most depressing release to date.

[youtube http://www.youtube.com/watch?v=gtSTzXU0mTY&w=420&h=315]

Dark Tranquility – The Gallery

While many melodeath albums have been released at this point (including one by these guys), this album helped to further define the genre. The Gallery is full of both clean and growled vocals, keyboards, depressing lyrics, and acoustic parts. All of these would later become part of the band’s signature sound. Bands like Kalmah and Omnium Gatherium would probably not exist without this album.

[youtube http://www.youtube.com/watch?v=PoHa48lqsqE&w=560&h=315]

Meshuggah – Destroy Erase Improve

One of the most important metal albums of the whole decade. On their first album the band played thrash with prog mixed in. On this album the band takes on a style of its own. The album’s full of groove, technicality, and free jazz influence. This style would give the band legendary status. Many bands would try to copy this style. Sadly, they missed the point.

[youtube http://www.youtube.com/watch?v=cjW_7N9dfCs&w=560&h=315]

Blind Guardian – Imaginations from the Other Side

Blind Guardian’s previous album, Somewhere Far Beyond, showed hints of the band transforming from traditional metal to power metal. Here is where the transformation is complete. While most power metal is very cheesy, Blind Guardian keeps the cheese level to a minimum and focuses on just being awesome, and IFTOS is one of the best releases from a band that never disappoints.

[youtube http://www.youtube.com/watch?v=yfAHfZc0pWE&w=420&h=315]

Down – Nola

Throughout the 90’s, Eyehategod, Pantera, Crowbar and Corrosion of Conformity all released some solid work… so what better to do then have the bands join forces! Their combined might gave birth to Down! Mixing Black Sabbath with the sounds of the south, Nola is one of the best efforts by any of these musicians.

[youtube http://www.youtube.com/watch?v=w8raOyF92iQ&w=560&h=315]

Suffocation – Pierced From Within

Long Island’s Suffocation are most known for being forerunners to both the technical death metal and brutal death metal sub genres. Here on Pierced From Within, they perfected their style. Tons of amazing drum fills, guitar riffs, and grooves are heard here, resulting in one of the best death metal albums of all time.

[youtube http://www.youtube.com/watch?v=j-uM6oDkw8c&w=420&h=315]

Dissection – Storm of the Lights Bane

Last and nowhere near least is Sweden’s Dissection and their album Storm of the Lights Bane. The band’s sound is a perfect mixture of black metal, death metal and melody. Here on their second album, the band does it best. The album gives off a haunting feel mixed in with its fantastic guitar work and dark fantasy lyrics. To this day, the track “Where Dead Angels Lay” is one of the most acclaimed black metal tracks of all time. The band may be long gone, but their legacy lives on!

Doug McCausland is co-editor and reporter for Alternative Nation. If you have any questions or tips you can email him at dmccausland1(at)gmail.com

 

10 Astonishing Metal Bands From Israel

This June, yours truly will be making the third trip of his life to Israel. In honor of this upcoming trip, I’ve decided to do some reflecting on my favorite bands from the country home to “The Holy Land”, in order of formation date. Metal is viewed as sacrilegious particularly in Israel. Many venues will not host shows on the Sabbath. Despite this, several of the bands below have endured the controversy and have become well-respected in the metal underground.

Salem – Tel Aviv – Formed in 1985

The name was taken from the horror film “The Witches Of Salem”. Their style is a blend of death and doom metal with occasional oriental influences. Drummer Nir Nakav, has stated in an interview for the documentary “Global Metal”, that their lyrics pertaining to Jewish suffering has had the band butting heads with Varg Vikernes (despite Varg admitting to appreciating the music). In 1994, they released their debut full-length Kaddish. The title pertains to the Mourner’s Kaddish, a prayer for dead relatives, included in three daily synagogue services.

The opening track, “The Fading”, received regular airplay on MTV’s Headbanger’s Ball. The 9th track on Kaddish, “Ha’ayara Bo’eret” (The Burgh is Burning), is a cover of an Israeli folk song, sung in Hebrew, and its lyrical content is associated with the suffering of Jews during the Holocaust. They’ve released 4 other studio albums since then, and in 2011, Kaddish was re-released. A special concert to commemorate the re-release took place in Tel Aviv, where GN’R guitarist “Bumblefoot” joined the band on stage.

 

Orphaned Land – Bat Yam – Formed in 1992

A progressive metal band which incorporates elements of Middle-Eastern and Arabic music. Each of their albums contain the concept of two extremes clashing; Shadow to Light, East to West, Past to Present, or God to Satan. Their lyrics have often promoted a message of unity and peace between Judaism, Islam, and Christianity.

Their debut on Century Media Records, Mabool, tells the story of three angels, one from each of the Abrahamic religions, on a journey to warn humanity of a flood invoked as punishment for its sins. Despite several biblical references in their lyrics, most members of this band identify as agnostic or atheist. Overall, the one message this band wants to relay to all who listen is as follows: “People should be judged by their hearts and inner sincerity, not their religious beliefs.”

 

Melechesh – Jerusalem – Formed in 1993

They may be residing in The Netherlands now, but Melechesh have a history in Israel and are still being marketed as a band from Jerusalem. Their name derives from two words with Aramaic and Hebrew origins. The meaning of the conjoined words is “King of Fire”. Up until 1998 the band recorded and gigged in Jerusalem where they were harassed by law enforcement officers with deeply held religious beliefs, prompting their relocation to The Netherlands. Their debut was controversially titled As Jerusalem Burns. They refer to their sound as Sumerian metal. Just think Absu, but with more oriental influence. On their most recent album, Enki, from this year, they had the opportunity to collaborate with Max Cavalera.

 

Distorted – Bat-Yam – Formed in 1996

They took influence from progressive and gothic metal bands and an oriental influence from their country-mates Orphaned Land. They didn’t release a debut album or tour outside of the Tel-Aviv area until 10 years after forming. The success of the debut, Memorial, earned them a deal with Candlelight Records.

 

Winterhorde – Haifa Region – Formed in 1999

Originally called Autumn Palace, they changed their name to Winterhorde two years later after some soul searching and line-up changes. The success of their demo grabbed the attention of Greek label Burning Star Records. The label would release their debut album, Nebula, prompting positive feedback and demand for Israel’s answer to theatrical melodic death/black metal to tour Europe. Their 2010 sophomore album Underwatermoon was met with similar positive response, and the band is currently working on album number three, Maestro. They have shared the stage with several international acts with similar musical influences. Such includes Keep Of Kalessin, Negura Bunget, Crematory, and later this year they are due to open for Ne Obliviscaris in Tel-Aviv.

 

The Fading – Tel-Aviv – Formed in 2000

They began at the dawn of the new millennium as Excessum, then changed their name to “The Fading” (me thinks named after the opening track on Salem’s debut) in 2006. Two years later, The Fading competed in Israel’s division of the Waken Metal Battle for a spot on the WET stage at that year’s Waken Open Air. They competed against several Israeli metal bands including one with their former producer, and won. They also won the global division of the Waken Metal Battle, held while they played the festival. Their prize as such, was a record deal with the festival’s record label. Under this deal the band recorded their debut album, In Sin We Find Salvation.

The success following the debut, has earned them the opening spot on several shows with international metal bands coming through the Middle-East. They are often matched up with melodic death metal favorites such as In Flames, Children of Bodom, and Arch Enemy. In 2013, the band announced work on a sophomore album, self-produced. As of this year, they have announced via Facebook that ‘Till Life Do Us Part, is due to be released later this year.

 

Nail Within – Tel-Aviv – Formed in 2001

Like The Fading, Nail Within play melodic death metal, though the latter is a little more aggressive and thrashy. While recording their debut album in Germany, the band got to meet figures of the Teutonic Thrash Metal scene, as well as At The Gates singer Thomas Lindberg, all whom made guest appearances on the eponymous album. The band ended up being short-lived, breaking up soon after their release show, yet being highly influential to Israel’s melodeath scene. They played a one-off reunion show in Tel-Aviv with Salem’s drummer as well a guest appearance by Thomas Lindberg.

 

Dagor Dagorath – Afula – Formed in 2003

Filed under Tolkien-named metal bands. Specifically, their name refers to “The Battle Of Battles”. They faced a four-year hiccup due to some members’ mandatory civic duty of military service. Hence their debut album, Yetzer Ha’ra, was released 6 years after their formation. They have been featured in an issue of Metal Hammer UK as well as the first volume of Burning Roots, an anti-nsbm compilation.

 

Whorecore – Tel-Aviv – Formed in 2003

A six-piece grindcore/death metal act, from “The city that never stops”. Known for playing as many shows as they can with a total disregard for venue or audience. They are considered Israel’s best live actin the punk, grind, and metal communities. They have two full-lengths under their belt, with their debut album, Protection, released in 2006. Also featured in “Global Metal”. “Supporting violence against stupidity since 2003” (Facebook excerpt).

 

Hammercult – Tel-Aviv – Formed in 2010

Considered a supergroup in Israel’s metal scene that featured two members of The Fading. Their unique blend of thrash and death metal won them the Israeli Waken Metal Battle of 2011, as well as the Global Waken Metal Battle that same year. They’ve done several European tours with the likes of D.R.I., Sepultura, and Napalm Death. Their first album, Anthems Of The Damned, was released by German label Sonic Attack in 2012. Continuing to promote their second album, as well as a potential third album, they will be the support act for Overkill’s show in Tel-Aviv this June.

 

Honorable Mentions:

Acropolis – Melodic Power Metal with Trance influences  – Tel Aviv

Buzzer – Stoner/Sludge Metal – Tel-Aviv

Edited by Doug McCausland