Author: Ro

Cristina Scabbia of Lacuna Coil talks with ThisIsNotAScene

On a chilly autumn evening under the light of a full moon ThisIsNotAScene clambered aboard the Lacuna Coil tour bus and hunkered down on the spacious sofas to catch up with Cristina Scabbia, one half the band’s vocal power, about the bands hectic touring schedule, changing faces in the line up, eating habits while on tour and the highs and lows of having a multi-platform social media presence… You’ve just finished touring the US – having completed two tours there this year and now you’re straight into touring the UK and Europe. It must be crazy! How’re you holding...

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Nexus Inferis – A Vision Of The Final Earth

For those extreme metal lovers that tire of bands chewing over the actions of those in times gone by, yet shy away from the sound and aesthetic of futuristic, green dreadlock sporting harsh electro types, meet your perfect match – Welsh trio Nexus Inferis. For those who equate Welsh music with choirs, these good folk are more concerned with the rise of the machines than rising to sing hymn 430. After 2 years pacing below the radar, the band has erupted with their debut album “A Vision of the Final Earth”. At first blush, these lads remind me of Aborym, but more stripped down, Anaal Nathrakh with more straight up black/death vocals and a less hissy, keyboard infatuated Psyclon Nine – a promising start indeed. A common pitfall for those who dare to mix the electronic and organic is creating something so unbalanced it topples and falls. Often, I have been disappointed by bands who aim to capture the style yet only including a few out of kilter beeps and a copy pasted sampled by way of industrial, or conversely something so computer generated it contains as much guitar as a kids keyboard. All of these snares are ably leapt over and all qualms are blasted away in turn by unrelenting riffs and skin crawling soundscapes. Nexus Inferis walk the narrow tightrope over the fiery pits of disappointment and...

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Mhorgl – Heresiarch

Ah Australia, one of the last places I would think of looking for a metal band, let alone a turbo powered extreme metal one. Prior to this reviewing foray into the outback, the only Aussie band of the metallic persuasion that I could name was gnarly black metal bunch Burning Church Forest. Not that I have any right to be surprised – black metal has long been springing up like weeds in the most unusual places. This week seems to be one of good tidings from Down Under, from a boy band being urinated on by a displeased koala to the more relevant discovery of Mhorgl, who peddle a ferocious brand of black metal, which like the Australian wildlife is rather a little different from anything elsewhere. “Heresiarch” is the band’s 4th full length album. As well as releasing their own material, the majority of the band members have played in numerous bands before or alongside this current project. This combined wealth of experience is evident in the level of musicianship present on the record; playing melody infused music this fast requires talent, precision and at least another pair of arms each. Opener ‘Inheriting the Mantle of Power’ pulls no punches and swerves straight into the fast lane, with the band instantly showing themselves to be blast beat powered speed demons. While maintaining melodic and flawless playing throughout, during...

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Mortad – Pandemic Paranoia

London-based extreme metal brutes Mortad have clawed their way from relative obscurity in the past months, bursting from the underground to assault the eyes, ears and consciences of the general populace.  In only a few months the band has released their debut full length album The Myth of Purity, made two music videos, and played a number of festivals. Here we turn our ears to that self released EP which triggered this giant upsurge. While an upcoming extreme metal band sporting tight musicianship is a pleasant treat to be enjoyed at any time of day, the anomaly that has fired Mortad’s star into the ascendant is without doubt Iranian born vocalist Somi Arian, whose screams transmit every ounce of her vitriol and disdain. Despite sounding as though she may follow through and vomit up her liver, she projects the thought provoking lyrics like a host of angrily pointing fingers. While many will immediately pension off any female extreme vocalist as an Angela Gossow sound alike, which is far from a disservice, I would personally liken her tone to that of Tristessa from Greek Black Metal band Astarte. The record kicks off with title track ‘Pandemic Paranoia’ which showcases politically themed lyrics in fine style. Despite political and religious injustices both home and abroad featuring heavily in the band’s work, crust punk this is not. Not be oppressed by conventions...

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Dragged Into Sunlight Talk To ThisIsNotAScene

Ever shrouded in mystery, ThisIsNotAScene had a surprisingly civilised chat with an elusive member of Dragged into Sunlight before their set at Damnation Festival; chatting about the creation of the aurally destroying album, the reasons for the secrecy and upsetting old women in America’s bible belt. Dragged into Sunlight have lurked on the underbelly of the metal scene for quite a while. Hatred for Mankind has caused quite a stir owing to its sheer aural brutality. What went into the creation of such a beast? DIS: I’ve been in it for the last 3 years, and the band’s been going for about 4 years so I joined just as the guys got used to their sound. Then we invested in an awful lot of equipment which led to the creation of the beast, as you will. We got a lot of gear from matamp, which are the amps we use and spent a lot of time defining our sound and making it as physically disgusting as possible. It’s very heavy as you know, it’s partially through spending weeks on end together and developing a genuine hate for each other. It’s very legit, nothing on that record is fake. It was a dark time for the lot of us collectively, we were all going through some shit, and we all have a similar mindset, so it came out very true...

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