Ola Mazzuca in conversation with the Dominincan Republic’s premier death metal band ARCAIOS
Metalion is one of the greatest books about metal ever produced.
“If someone had told me fifteen years ago that I would have an indoor shower I would think they were crazy (laughs). I couldn’t imagine I’d be working on the Howard Stern show. When I lived in a storage unit in Florida I showered with a garden hose outside. But I was young and it was for metal and we all need to make sacrifices to do what we love. I kept working on things and plugging away and played drums every day.”
Justin M. Norton in conversation with Charred Walls of The Damned drummer and Howard Stern show comedian Richard Christy.
Paul Speckmann has been playing death metal longer than many fans of the genre have been walking the planet. The Chicago native started his long-running project Master in 1983. He’s also played with other bands including War Cry, Abominator and the Czech death metal band Krabathor. Dark Descent Records recently reissued his early band Death Strike’s demo Fuckin’ Death. Speckmann recently talked to Hellbound’s Justin M. Norton about the early days of Chicago death metal and his new life in Eastern Europe from his home in the Czech Republic.
“While the Stanley Cup Riot of 2011 will be neither forgiven nor forgotten any time soon, it was heartening to see Vancouver’s metal scene step up and do their part to help soothe some of the sting the city’s been feeling since that night. I also got my eyes opened – there are a lot of incredible bands in this city”
Rob Hughes and Kyle Harcott review the July 13th RIFFS NOT RIOTS festival that happened in Vancouver. Concert photography by Ted Reckoning.
Mean Deviation is an amazing compendium of everything weird in the world of metal—a book as grand and unlikely as the music it documents.
By Keith Carman Almost eight years into their career, Milwaukee-based quartet Cause For Revelation finally issue a debut full-length in Resurrecting The Hostility. Taking…
What the DVD does is allow the viewer to get to know Gene Hoglan, the drummer and the man. It’s an entertaining watch and I’d recommend it to non-drummers who still have an interest in Gene or Gene’s bands.
Rather than being labeled a horrible listen, this album is simply unsatisfying. After listening to tracks from Malevolent’s previous studio release, Doomsday X, it seems that something is missing. Depth is absent, vocals lack vigor and there is nothing audibly fresh in terms of musicality
This EP plays a lot with the dynamics of sound. The interplay between loud and quiet, digital and analog creates rich waves of tension and release. I was struck by the depth of each of the tracks, not just in terms of the layers of sound but also the thought and care that went into crafting these alternate interpretations.