'Meditations' is the thirteenth studio album by the Canadian death metal band Kataklysm. Meditations is released on June 1st, 2018 through Nuclear Blast Records.Meditations have 10 tracks. Canadian death metal veterans Kataklysm celebrated their 25th anniversary a couple of years ago. Over their quarter-century-plus of existence, their sound has shifted, evolving from traditional death metal.
I’m always on the hunt for new bands to check out. Most I come across are average and uninspiring or even total crap. Being competent in this day and age is not enough. Now and again though the search reaps a reward like in the case of Human Cattle, the debut album from Disowning, a death metal band whose members are divided between Canada and France.From opening track Ghost Area things are looking good. A decent organic production is always a good start as we have here. Straight in with some blast beats and the obligatory double kick patterns over some compelling riffs lifted from the Trey Azagthoth songbook. It’s intoxicating stuff for sure and fortunately it proves not to be a one off.
These guys are good and go for an old school vibe. Sure this stuff is fast at times but speed is not the overall objective giving these songs space to breathe and the riffs are immense.
Morbid Angel and Immolation come to mind though these guys aren’t outright copyists but they have that similar crushing sound that Immolation do. They also inject some atmosphere into the mix and slow down before they explode into the next barrage of blast beats. Plenty of tempo and rhythm changes keep things interesting as perfectly demonstrated on Intoxicated by This Illusion. There’s nothing more boring than relentless blast beats with no change of tack on every track. You won’t find much in the way of melody though except on some of the lead guitar work which is certainly not a problem to these ears with down tuned heaviness being the top priority.Human Cattle is not an original sounding album but who gives a shit when it’s this good. Every time I think I’m listening to my favourite track along comes another just as good to replace it. It’s hard to believe this is a debut album such is the maturity of the songs.
The standard of musicianship is excellent too with strong vocals from Jesus “The Butcher” which are in the vein and low register of Immolation’s Ross Dolan.This albums going to be on heavy rotation in my house over the next few months and will almost certainly feature on my best of year list in a few months’ time. You really need to check these guys out even if you just have just a passing interest in death metal, it’s that good. 2019’s Atonement is the 3rd album since Jesse Leach rejoined the iconic metalcore band, Killswitch Engage. I’ll skip to the end right away and say this album is no disappointment. There are a bunch of new songs fit for any future KSE live sets or compilations.The sound, performance and production are all top notch.
More or less similar in quality to the past two albums. Sonically; it is crystal clear and perfectly produced. As classy as you can get without tipping over into overproduced. The band pound away with the same ratio of aggression and contemplation, and nail it perfectly.Unusually for Killswitch, there is a guest vocal performance from an outisder, from Testament’s Chuck Billy. They add him over one of the thrashier songs (‘The Crownless King’) and he really suits the music.
'Winter Ethereal' is the 2nd full-length studio album by US progressive metal act Arch / Matheos. The album was released through Metal Blade Records in May 2019. Arch / Matheos is a project formed by former Fates Warning frontman John Arch and Fates Warning guitarist and main composer Jim Matheos. While Matheos since the early 80s has continuously recorded and toured with Fates Warning (and has released a couple of solos albums and has recorded a couple of OSI albums), Arch had a longer break from the music industry after leaving Fates Warning in 1987. It wasn´t until 2003 that he stuck out his head again, when he released the 'A Twist of Fate' EP, which was released under his own name.
The EP was created in collaboration with Matheos, and while it didn´t initially mean a comeback to the scene for Arch, the seeds were sown for the Arch / Matheos project.The project´s debut album 'Sympathetic Resonance' was released in 2011 and featured bassist Joey Vera (Fates Warning, Engine, Armored Saint), drummer Bobby Jarzombek (Fates Warning, Halford, Iced Earth) and lead guitarist Frank Aresti (Fates Warning) in addition to Arch on lead vocals and Matheos on guitars. While the three mentioned session musicians are also featured on 'Winter Ethereal', the album features quite a few other session bassists and drummers, including former Fates Warning drummer Mark Zonder, former Fates Warning bassist Joe DiBiase, and the omnipresent bassist Steve DiGiorgio (Sadus, Death, Testament, Iced Earth.etc.). With musical capacities like that it´s no surprise that the musicianship on 'Winter Ethereal' is exceptionally strong.The stars of the show are of course Arch and Matheos though. Matheos as always have written some tasteful and quite intricate progressive metal songs and his riffs and sense for rhythm are dynamic, and can be both heavy and loud but also subtle and more sophisticated.
Arch is a skilled vocalist with a strong voice and a wide range (although he predominantly sings in a very high register). His long break from the scene has probably meant that there hasn´t been the wear on his voice other singers his age typically experience. He sounds almost exactly as he did in the 80s. His high pitched vocal style, voice, and ornamented vocal lines are probably an aquired taste, but personally my jaw drops every time he opens his mouth and sings. To my ears he is an incredible vocalist with a distinct sounding voice and vocal style.
A top tier progressive metal vocalist.' Winter Ethereal' features 9 tracks and a total playing time of 67:59, so it´s a fairly long album, but it doesn´t really feel that long, as the material are both well written and relatively varied.
Highlights include album opener 'Vermilion Moons', the power ballad type track 'Tethered' (well.power ballad is probably stretching the definitions of that term, but there are some similar features), the short and powerful 'Straight and Narrow', and the 13 minutes long closing epic 'Kindred Spirits'. This is a high quality album through and through though, and there´s not a single sub par track in sight.'
Winter Ethereal' features a powerful and detailed sound production, which suits the material perfectly and upon conclusion it´s a high quality sophomore release by Arch / Matheos and a more than worthy successor to 'Sympathetic Resonance (2011)'. It´s not often you come across progressive metal releases of this quality, featuring an origial sound and musical style too, and add to that high level musicianship on all posts, this is simply layers upon layers of quality features, which work in perfect balance and symbiosis. A 5 star (100%) rating is deserved. In The Woods. Are a difficult band to describe.
I think 3 TIMES 7 ON A PILGRIMAGE is a valuable and entertaining release, because it demonstrates their unique and varied sound. Although there's a lot going on in their music, it's rooted in a combination of black metal and classic psychedelic rock. The Pink Floyd, Jefferson Airplane, and King Crimson cover versions make that apparent.
Though I haven't listened to all of their music, it seems the black metal components are less prevalent now.The weakest link in the band's sound is the male vocals, but the music is predominantly instrumental. I'd have to say this is one of my favorite albums by In The Woods. My reduction of 1 star from the rating is partially due to the vocals. It also because core fans of the band may rank their primary studio albums higher. 3 TIMES 7 ON A PILGRIMAGE would be a terrific one-album introduction to the band for newbies. When the four members of BLACK SABBATH reflect upon the time period when “Vol 4” was released they can only recall upon how the seeds were sown for the ultimate demise of the so-called pioneers of the heavy metal genre of rock music. All the members were suffering from one form or another of substance abuse and the phenomenal success of their albums gave them the financial freedom to indulge in their wildest fantasies in order to achieve the ultimate party like it’s1999 scenario.
Unfortunately these endless days and nights of hedonistic highs and living in the sin city of 1970s Los Angeles essentially killed the creative process and no matter how hard the band tried to muster up even the simplest of ideas, ended up in dismal failure every time. The team members that consisted of Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward were starting to think that the band’s expiration date had arrived and were seriously considering throwing in the towel.Luckily the band decided to return to the UK and immerse itself into the mysterious and spooky surroundings of The Forest of Dean where they rented Clearwell Castle in Gloucestershire, England where they once again were able to grasp onto the musical mojo that made their earlier albums so sinister and sensational. The haunting environs suited the band well as they recaptured the occult darkness once again.
SABBATH BLOODY SABBATH was literally launched when Tony Iommi stumbled upon the main riffs while playing in one of the dungeons in the castle and the evil heaviness is what set the tone for the rest of the album to follow. Once the SABBATH dudes were acclimated to the new surroundings, the ideas started pouring in once again. Scaring the crap out of each in the spooky medieval fortress aside, the band continued the heaviness of the four previous albums and continued the experimental and progressive elements that started on “Vol 4.”SABBATH BLOODY SABBATH introduced even more complex compositional arrangements that included more keyboard styles and also some strings and other touches. While a sitar and bagpipes were attempted to be included, they were nixed from the final editing which was probably a good thing! With the heavy introductory riffs of the title track and the nightmare visions of the album cover art by Drew Struzan, SABBATH recaptured the dark imagery and darkened vibes of the debut album and “Paranoid” but also displayed a more mature musical approach that found the standard heavy metal riffing styles fortified by deviations into more sophisticated flirtations into the world of progressive rock that found the band members taming their demons and taking on the challenges in order to up their game and remain relevant in a quickly evolving music business. ‘Lonesome Crow’ is the 1972 debut of one of metal and hard rock’s longest running and most endearing bands, the Scorpions (or, more specifically, just Scorpions, without the “the”).
Like countless others, I was introduced to this band by winds of change, being rocked like a hurricane and suffering severe blackouts, so it’s a huge surprise, and kind of an odd disappointment, to discover that the German hard rockers were something completely different when they first debuted.Commonly referred to as “krautrock”, ‘Lonesome Crow’ is more psychedelic and progressive than what the band would go on to become known for. With a heavy emphasis on non-linear guitar solos and vocal lines that don’t really follow very clear melodies, it’s a bit of a mess of an album, especially if, like me, you were expecting the bands latter riff-fuelled sound to be present here.Most of this falls down to guitarist Michael Schenker, who’s distinctive playing style is all over this album, but would leave the band before they could record a follow-up, which is where the group really start to develop their more recognizable sound. There is some impressive musicianship, which feels more akin to the progressive rock bands of the day, but for all the competent playing, they’re not very competent at writing catchy songs.
Not yet, anyway.I mean, if I had to really look for positives, then full credit would go to the bands technical abilities on their instruments. But I don’t really listen to albums marvelling at the musicianship if the songs themselves are pretty boring and forgettable.
It’s a shame, but in fairness, these guys would certainly go on to evolve and eventually conquer the world, so dismissing ‘Lonesome Crow’ shouldn’t be such an issue, surely? Body Count’s discography has always been a story of up’s and down’s, a great album followed by a disappointing one, followed by a.
You get the idea. And after 2006’s uninspired ‘Murder 4 Hire’, the band went on hiatus. With frontman rapper Ice-T keeping busy with his solo music and acting career, it would be eight years until the crossover thrash, rap rock pioneers would return, and the trend continues, because 2014’s ‘Manslaughter’ is a fantastic return to form for the band.Featuring some of their most polished and well-written tracks, ‘Manslaughter’ shows that age hasn’t slowed these guys down, and in fact, they sound more energetic and enraged than ever before. This may be a add-on to PT's main output, but it's still PT!
This is probably the most experimental, kraut rock-influenced album Wilson released under the Porcupine Tree label. As a result it's not a part of my regular musical diet; I need more structure. However many people love this aspect of PT and they should surely appreciate METANOIA.
Not surprisingly, it's brilliantly played. Colin Edwin and Richard Barbieri are sometimes the unsung heroes of the band; I'm assuming they had significant input to this recording. The nature of these songs ensures that they get a well-deserved, large part of the spotlight. I think I would rather listen to Porcupine Tree play this brand of rock than any one else. This is an enjoyable alternative to Porcupine Tree's main discography. 'Bleed for Us to Live' is the debut full-length studio album by US, Ohio based death metal act Gutted. The album was released through Red Light Records in March 1994.
The band was formed in 1990 under the Demigod monicker, but they changed their name to Gutted in 1992. The lineup features no less than three brothers in Mark Ditch (vocals, bass, keyboards), Scott Ditch (drums), and Michael Ditch (guitars (lead & rhythm)). In addition to the Ditch brothers the lineup also counts Billy Mills (guitars (lead, rhythm, acoustic)).Stylistically Gutted plays what I´d characterize as pretty standard early 90s US death metal (predominantly mid-paced). It´s well played, relatively well composed (it´s fairly consistent in style but very few tracks stand out), and decently produced (lacks a bit of punch), but it lacks a personal sound. It doesn´t help that the guys are a bit late to the game releasing the album in 1994, when the death metal scene was starting it´s decline, but that of course doesn´t take away from the quality of 'Bleed for Us to Live'.and it is overall a decent quality death metal release. Brutal and relatively intelligible growling vocals, solid heavy rhythm work, and downtuned brutal riffing. It´s fans of artists like Obituary and early Death, who should take notice here, although quality wise Gutted can´t compete with those two acts.
They remind me slightly of another 90s US death metal act like Morta Skuld, who also made a couple of decent death metal albums around the same time, but who also suffered from the fact that their music just wasn´t unique sounding enough for them to stand out on an at the time overcrowded scene.So upon conclusion 'Bleed for Us to Live' is a decent quality debut album by Gutted. It doesn´t promise more than it delivers and it doesn´t deliver more than it promises.
No nonsense death metal performed by competent musicians. Nothing more, nothing less. A 3 star (60%) rating is deserved. 'Cretanic Grind Ambush' is an EP release by US, California based grindcore act Cretin. The EP was released through Relapse Records in August 2004.
Cretin was formed as far back as 1992 but disbanded again in 1996 without releasing anything, as a consequence of bassist Matt Widener joining the marines and lead vocalist/guitarist Dan Martinez working in the video game industry. They reunited in 2001 though and 'Cretanic Grind Ambush' is their first official label release (they released the 'Extreme Cretanic Grindcore' demo in 2003). 'Cretanic Grind Ambush' is actually a re-release of the 'Extreme Cretanic Grindcore (2003)' demo with an extra track ('Pee Spree'). So if you already have the 3 track demo, 'Pee Spree' is the only new track you get on 'Cretanic Grind Ambush'.Stylistically the material on the album is raw, distorted, fast-paced and loud as hell grindcore, delivered with fierce aggression. Repulsion is obviously the main influence here, but it´s not something the band are trying to hide or are ashamed of, and they shouldn´t be, because they deliver their music with great conviction and passion, which is usually of much greater importance in grindcore than originality. When that is said Cretin still manage to put their own spin on their Repulsion influenced grindcore style, so they are not a clone band.In true grindcore style neither of the four tracks exceed the 2 minutes mark and the EP is almost over before it began (total time 6:24 minutes).
Thankfully you´re left with the feeling that you want more, which is almost always a sure sign of quality. Cretin are a well playing bunch, and no matter how fast or how filthy and raw the music is, they perform their parts with precision but also with the right organic touch. Martinez has a raw and aggressive vocal style, which puts the icing on the cake in regards to creating the most vile and filthy atmosphere as possible. The sound production is very raw and noisy, but not in a messy lo-fi way. On the contrary you´re fully able to hear details in the mix, and the production suits the music perfectly.So upon conclusion 'Cretanic Grind Ambush' is a short but sweet first label release by Cretin and a promising start to their career. They may not get that many points for originality but fully make up for it in caustic aggression and hellish intensity. A 3.5 star (70%) rating is deserved.
Even more than any other Nevermore album, Dreaming Neon Black always seemed to have a darkness and intensity that was all its own. This is some potent, dense thrash that fully revels in its progressive nature, as well as the twisted story the late Warrel Dane weaves along the way. The concept, according to Dane himself, deals with a man who gradually succumbs to insanity after he loses his lover to a religious cult. Eventually this insanity becomes all sorts of various tragedies surrounding our main character. Sounds happy, right? Believe me, though, this stuff is the perfect base for the incredibly creepy and depressing moods the music itself creates.
You really feel the conviction of the band right from the opening thrasher (aside from the intro) 'Beyond Within,' which seamlessly blends the intense drive of Jeff Loomis' riffing with a variety of tempo shifts for every mood the song wants to convey. And there are several; from one song alone, we get rage, desperation, anxiety, and futility all in this track. Simply put, this is the most emotional album Nevermore ever put out.And the greatest thing about this is that there's so much sincerity and even beauty lurking in the record's uninviting outer shell.
If I were to pick Dreaming Neon Black's centerpiece in this regard, it's definitely the bleak title track. This is one of the rare ballads we get to hear from the band, and the doomy chorus constantly gives off the feeling of drowning in Dane's personal abyss. Even the faster numbers on the album usually exhibit some interesting experiments that further the atmosphere, such as the wonderful classical guitar leads that kick off 'No More Will' or the bizarrely off-kilter rhythms and atonal guitar chugs that define how uncomfortable the mood of 'The Death of Passion' is. Even more interesting are the softer segments, such as the strange note-bending in 'All Play Dead' or the minimalist clean guitar that closes the album with 'Forever.' More traditional Nevermore numbers come in the form of the straightforward melodic thrash of 'I Am the Dog' and the intricately performed media-bashing prog/thrash combo heard in 'Poison Godmachine.'
But even then, these still serve to advance the story and inject their own form of energy into a deeply affecting piece of metal music. Dreaming Neon Black is the most consistent Nevermore album from a songwriting standpoint, and it also happens be the most emotionally resonant one at the same time. How much more could you want out of one of the most impressive metal bands of both the 90s and 2000s?Rest in peace, Warrel Dane. WIND ROSE 1 day ago New MMA Metal Forum Topics. 14 days ago 2 replies. 32 days ago 2 replies. 41 days ago 0 reply.
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