Cynic’s Paul Masvidal. Photo by Rich Mathias.

Before coming to this show, I knew it was going to be a pretty interesting night. It wasn’t just because the awfully underrated and super-legendary Floridian progressive metal masters Cynic would once again be supporting a band that they helped create, but it’s because I heard that they would be premiering out a new tune. Considering the fact that their latest masterpiece, Traced in Air (Season of Mist), came out 15 years after their landmark debut Focus (Roadrunner), I was more than happy to get a fix of brand-new Cynic songs.

I didn’t make it in time to check out most of Scale the Summit’s set. From what I caught, these guys played instrumental guitar music. I wouldn’t call this metal in any way. In fact, I wasn’t even into it. Sorry, but guitar-heavy instrumental music isn’t for me. I will give props to these kids, though. They can definitely rip on their instruments.

Up next was another legendary figure: Canada’s Devin Townsend. The former Steve Vai singer and Strapping Young Lad frontman is back after retiring from the music industry for some time—and he’s more whacked out then ever. I never understood his music or his sense of humor, so I guess that’s why I didn’t really enjoy his set. While I was walking around the venue, I heard a lot of people who came specifically for him and were super stoked to see him. His onstage banter reminded me of Mike Patton and Frank Zappa, but even more intense. Tonight’s crowd definitely worshipped “Heavy Devy.”

Cynic was up next, and I don’t think my love for this band needs too much of an introduction. They were a band so far ahead of their time that it was ridiculous. Even today, I feel that they are criminally overlooked. With that said, I must admit I was pretty disappointed with the band tonight.

Why? First, they only played only one song from Focus. I know singer/guitarist Paul Masvidal is a very spiritual person, but that doesn’t mean the fans—the people who truly find solace in his music—don’t want to hear his classic songs (even if they were written 16 years ago when he was in a different mindset). Cynic only has two albums, each of them clock-in at about 35 minutes. I’m sure if they cut the live segue samples a little bit, they could’ve added two or three more songs from Focus. I was extremely shocked that they didn’t even play “How Could I?” That’s like Slayer not playing “Raining Blood.”

The new song, whose title I did not catch, really got me thinking. The direction was more straightforward and more in the lines of Paul and drummer Sean Reinsert’s other project, Aeon Spoke. It was definitely a song that I need to listen to at home in order for me to get the most out of it. Right off the bat, I got a latter-day Katatonia vibe, which was awesome, though not exactly “Cynic”-like. Perfomance-wise, the band was on fire, as usual. Bassist Robin Zielhorst held it down and second guitarist Tymon Kruidenier played his leads as fluid as ever.

After a disappointing set, I decided to catch some of Between the Buried and Me. I couldn’t help but notice the band’s eclectic crowd, with fans ranging from hardcore tough guys, teeny-bopper MySpace girls, Berklee College of Music rejects and the occasional old-timer who probably heard about the band in the New York Times or the Village Voice. I’ve read a lot about this band and even checked out some of their latest material, but I never got into it. I was hoping I would at least enjoy them live. Not surprisingly, I was wrong.

Usually, when I don’t enjoy a band, it’s almost always going to be that the music is not for me. However, there are cases where I will see a band live and get so blown away by their energy that I will go back to their records and actually enjoy them, which happened with Sweden’s Nifelheim.

Between the Buried and Me do not fall under this category—and it’s nothing against the band. These guys are so unbelievably talented it’s ridiculous. In particular, I must call out drummer Blake Richardson. This guy is an incredibly fluid and dynamic drummer. I’d like to say he’s the Dennis Chambers of progressive metalcore.

Overall, it was the night for Between the Buried and Me and the sold-out crowd showed it. The fans might have gotten their money’s worth but I was left with a bitter taste in my mouth. This just shows that Cynic need to finally do a proper headline tour so that will give their music justice. In a perfect world, I would love for them to co-headline with Atheist—the band who sparked the reformation of Cynic. Maybe that will give Paul the type of energy to whip out “Uroboric Forms.” —Henry Yuan

Nile’s Karl Sanders (left) and Dallas Toler-Wade

I don’t know about you, but I kicked off my concert calendar for 2010 with New York death metal legends Immolation, long-running Brazilian trio Krisiun and, of course, the insanely brutal South Carolinian band Nile. Talk about starting the year right.

By the time I arrived to the Grammercy Theatre in Manhattan, I learned that Abigail Williams dropped off (due to reasons unknown to me). Also, Los Angeles-based Dreaming Dead were also on the bill though I had no idea who they were.

I made it inside just in time to catch Dreaming Dead. I haven’t heard anything about these guys (and gals) so, needless to say, I was a tad curious. From what I made out, the band played generic modern death metal—lots of guitar solos and acrobatic riffs and a good amount of Slaughter of the Soul worship. Guitarists Elizabeth Schall Elliot and Laura Christine really know how to play their instruments, but I wasn’t exactly feeling the music.

Krisiun were up next and, of course, their legions of fans here in New York were pumped. I’ve seen them quite a number of times over the years (the last time was with Destruction) and they always deliver the goods. However, as much as I enjoy them live and on record, I feel they’re one of those bands that if you’ve seen them once, you’ve might as well seen them a bunch of times. (Read: it’s pretty much the same show.)

To keep the momentum going, bassist/vocalist Alex Camargo kept the banter to a minimum during their short set. The band ripped through about six songs, which were evenly culled from their catalog with emphasis on their latest offering through Century Media, Southern Storm. If you like your death metal fast and punishing, look no further.

I gotta be honest here: I’ve never seen Immolation live before. Yes, I am from New York and I’m well aware of how often Yonkers’ finest play here. It’s just that, for one reason or another, I had never made it out to an Immolation show. I really like the band (Dawn of Possession is genius), so I was really pumped to finally see them.

The band opened with “Passion Kill” and I knew I was in for a ride. To finally be able to see guitarist Bob Vigna’s signature stage moves and bassist/vocalist Ross Dolan’s insane amount of hair was truly an experience. Classics like “Father, You’re Not A Father” and “Burial Ground” are still as strong today as when they first came out.

“The Purge,” from the band’s forthcoming album Majesty and Decay (Nuclear Blast Records), showed that the band hasn’t run out of great ideas. At the end of their set, I was more than impressed. I can’t wait to see these guys come through again in support of their new album. I have a feeling it’s going to be quite amazing.

Finally, we have Nile. I don’t think an introduction is necessary. These Egyptian-obsessed tech-death machines seemed to be in great spirits when they came onstage to a packed crowd. “Kafir”, from the band’s great new album For Whom the Gods Detest (Nuclear Blast Records), kicked things off and was followed with “Sacrifice Unto Sebak” and another new one, “Hitite Dung Incantation” (they never fail with the great song titles).

Guitarists Karl Sanders and Dallas Toler-Wade, drummer George Kollias and bassist Chris Lollis were on fire. The fans were treated to “Serpent Headed Mask” from their first record, Amongst the Catacombs…, as well as some tried-and-true favorites such as “Lashed to the Slave Stick”, “Sarcophagus,” “Execution Text” and, of course, “Black Seeds of Vengeance.”

The last time I caught these guys live, they were touring in support of their 2007 release, Ithyphallic. At that show, though I liked the band, their song selections didn’t seem to work for me live. However, this time out, with For Whom the Gods Detest —and a much more ripping song selection—the band really kept me on my toes for the entire show. Nile are better than ever and I strongly suggest to attend one of their shows if they’re in the area.—Henry Yuan

Last year, Earache Records released Heavy Metal Killers—a compilation of the best up-and-coming traditional heavy metal bands around the world. Not surprisingly, most of the bands that were featured hail from Scandinavia and Europe. Only two bands—Cauldron and White Wizzard—represent North America, with the latter being the only one from America. I asked myself, where the hell are the other American bands? For a country that spawned such great bands as Manowar, Agent Steel, Riot and Abattoir, there must be some young bands out there carrying the torch. Well, there aren’t many but I have found one. That band is Rhode Island-via-Brooklyn’s Natur.

Natur’s sound can be best described like this: Roky Erickson, after having one drink too many, singing over the heaviest riffs from the Judas Priest and Mercyful Fate catalog. Unlike White Wizzard, who in my opinion are too polished and glam-sounding, Natur are extremely raw, aggressive and full of attitude, similar to Iron Maiden’s Paul Di’Anno years.

The self-titled demo starts off with “Metal Knights,” an intro/instrumental track that sounds as glorious as the title. In true heavy metal fashion, it’s packed with lots of solos and melodies—thanks to guitarists Dino Destroyer and Weibust (who also supply the great vocals). Immediately following the intro track is “Zorched,” which is very reminiscent of early Angel Witch and Diamond Head, if “Fast” Eddy Clarke (Fastway, Motorhead) was swinging the ax. Which is to say: the song is built upon lots of different riffs rather than ideas, and has a punk-ish, “fuck you” attitude. More importantly, the songs are memorable. The excellent rhythmic foundation is layed by drummer Tooth and bassist the Mexicutioner, and is best demonstrated on “Goblin Shark” and the closer “Spider Baby.”

The reason why I love these four tracks so much is that it’s heavy metal done the way it’s supposed to be done. Not only does the band have loads of authentic attitude, and just the right amount of catchiness (if you heard Tank’s “Honor & Blood,” you’ll know what I mean). The lyrics and themes are not the usual Satanic or H.P. Lovecraft themes employed by so many bands in the genre. But Natur’s tongue-and-cheek humor doesn’t take away from the actual music.

Natur reminds me why I got into heavy metal in the first place—the riffs hit so hard that you can’t help but headbang. True heavy metal isn’t dead, and these guys prove it. But don’t just take my word for it: head over to their MySpace page to stream this demo for yourself.—Henry Yuan

To kick off the New Year and the new decade, we must first go back all the way to 1988. Why? The answer is simple: Jersey City’s Grind Bastard just released their debut EP, 200grind (pronounced “two thousand and grind”), and it’s quite possibly the best grindcore and death metal EP I’ve heard since the late-Eighties.

The band, featuring Annunaki vocalist Tony Stanziano on bass, former Funebrarum drummer Brian Jimenez, former Cyber Christ guitarist Mike Stecz on vocals and former Lethal Strike guitarist Marcus Acosta, plays no-bullshit grindcore and death metal the way the legendary English bands did.

If the band’s name—which was taken from Benediction’s album of the same name—didn’t tip you off, their riffs surely will. The opening to “Worthless Generation” is extremely hardcore punk influenced, which was the way grindcore was and should be. The guitar tone is insanely vicious and dense, and brings in mind bands like Extreme Noise Terror and Napalm Death.

Though the riffs and the vocal style harken back to the glory days of English grindcore, there is an equal amount of New York hardcore influences. “Product of a Mindless Scene” displays the band’s sense of groove in similar fashion to New York Hardcore pioneers Madball and Sick of it All while the EP’s closing track, “Unchallenged Fate”, flawlessly blends the two styles together with a healthy dose of blast beats, two-step beats, primitive death metal guitar solos (think old Sepultura) and tough-guy gang vocals.

Grind Bastard are a band who’s not afraid of wearing their influences on their sleeves. Interestingly enough, they are also simply not a tribute act, either. They are so well grounded in their classic-Earache and hardcore roots that they manage to sound extremely fresh in today’s streamlined, polished, saturated and overly technical extreme music scene. If they existed back in 1988, there would be no doubt that the late, great John Peel would champion them the same way he did Carcass, Bolt Thrower, Heresy and so forth. Hell, they probably would have even entered Digby Pearson’s radar.

200grind can now be streamed on the band’s MySpace page, where you can also purchase a limited CD version. This is strongly recommended if you are fed up with the constant garbage that is labeled as grindcore, hardcore and death metal these days. —Henry Yuan

Type O Negative is a band who’s made its career from brooding, melancholic goth and industrial metal mixed with intense crossover fury. Their records, including classic albums such as Bloody Kisses and October Rust, as well as their latest, 2007’s Dead Again, have solidified Type O’s status as one of metal’s most interesting, creative and innovative bands.

And anyone who’s seen these guys perform (on a good night) can attest: the baritone voice of bassist/vocalist Peter Steele, chorus-laden guitar tone of Kenny Hickey, thunderous drums of Johnny Kelly and symphonic boost from keyboardist Josh Silver can create one hell of an audio experience. Add to that their signature self-deprecating humor, and inside jokes about Brooklyn, and you’ve got one engaging show.

Their latest mini-tour this past October marked the band’s return to playing in the States (even though it was just the East Coast) and was a welcomed reminder to longtime fans that this band is still alive and kicking.

The show at Nokia Theatre started rather early with local Staten Islanders Dead Men Dreaming. Unfortunately, they started so early that I missed their set. But they play around the city quite often and have a rather good following. The band’s drummer, Dima Shnaydman (formerly of Brooklyn-based thrash band Exit to Eternity), is one hell of a drummer and I definitely wouldn’t mind catching their set next time.

Up next was Kenny Hickey and Johnny Kelly’s new group Seventh Void, with Hank Hell from New York Hardcore band Inhuman on bass and multi-talented guitarist/producer from New York City Matt Brown on guitar. The band released their debut album, Heaven is Gone (Big Vin Records), earlier this year and I was extremely excited to see them.

As luck would have it (and because the show started so damn early), I only caught the final few minutes of their set. From what I did see, Seventh Void delivered a loud, heavy and energetic set. The tight Sabbath-worship riffs and Bonham-like drumming were perfectly complemented by Kenny’s booming voice. I’m definitely gonna catch their next show.

Prior to this show, I had never heard of the next band, Destrophy. In fact, I was quite surprised why a relatively “unheard of” band in this field of metal would be the direct support for a band like Type O Negative. In any case, I kept an open mind. But after a few songs I knew it wasn’t my cup of tea. But, I’d say if you’re interested, check out their self-titled debut out now on Victory Metal.

Finally, it was time for the “4 Dicks from Brooklyn,” Type O Negative…or just about time. Jimmy Duff, owner of the notorious Brooklyn heavy metal bar Duff’s (and friend of the band’s), walked onstage and notified the packed house that Peter Steele wasn’t at the venue yet and the last time anyone has seen him, he was in a balloon floating around Brooklyn.

Fortunately for us (and Peter), this was another joke and the band came right out and ripped into “Dead Again” and “In Praise of Bacchus.” Pete informed us that Josh [Silver] wouldn’t be available for the tour because he was studying to become a paramedic. Replacing him would be the great Scott Warren of Dio and Heaven and Hell. They dedicated the next song, a cover of Black Sabbath’s “NIB” to Josh and followed with Type O’s tribute to the late, great Dimebag Darrell, “Halloween in Heaven.”

They guys rocked through classics such as “Love You to Death” and “Christian Woman,” as well as some of their heavier songs such as “Wolf Moon,” “The Profits of Doom” and “World Coming Down.” Of course, no Type O set would be complete without “Black No. 1” from Bloody Kisses.

For those who know the band’s reputation for having a good time, or have seen them live in the past couple of years, you’ll probably be as surprised as I was to find out that the ubiquitous bottle of red wine was missing from the top of Pete’s rig. Hell, he wasn’t even drunk! Gone are the days of Peter Steele not playing his bass and drinking alcohol as if it was water.

Instead, at this show he was chugging a bottle of Gatorade (ironically enough, red Gatorade) and his giant paws were endlessly picking and fretting the bass. His voice even seemed like it improved, though there was a little chorus effect on the vocals. But, thankfully, his new clean lifestyle has not altered his sense of humor in any way.

Truth be told, the band’s performance on this particular night wasn’t exactly the best I’ve seen. They started out a bit shaky, but, as they played on, things got better and better. I predict that this is a step in the right direction for Brooklyn’s finest, and I’m ecstatic to hear how the next album will turn out. Hopefully, we’ll see one soon enough, along with a proper tour. —Henry Yuan

Because I’m an unrepentant, and slightly obsessive, metal fan, I often find myself scouring the record bins and online portals for the filthiest up-and-coming bands. As a reader of MetalKult, you’re no doubt familiar with this obsession. Once in awhile I come up empty handed, but more than not I’m pleased to find that the underground is alive and well.

The most-recent gem I found in my scavaging was a band of young Norwegian death metallers called Repellent. I first discovered them when I saw they were among Aura Noir’s top MySpace friends. I figured if the mighty Aura Noir vouched for these guys, they’d be worth checking out. Boy, was I right.

A few weeks after I reached out to Repellent through their site, I was stoked to open my mailbox and find that their self-released demo had crept its way across the Atlantic. When I spun the CD, I was stunned by what I heard: eight songs (in 15 minutes!) of straightforward, no-bullshit death metal attack boosted with a healthy dose of early Bathory-style riffs.

Sven-Erik Dœhli (left) and Christoffer Bråthen

Much like their Swedish peers Tribulation, Repellent—made up of bassist/vocalist Sven-Erik Dœhli, guitarist Christoffer Bråthen and drummer Jørund Losnegård Skjervøy—stay exceedingly true to the grim, European extremity of pioneers like Celtic Frost, while managing to harness the ripping thrash power of Sodom and Destruction.

Songs like “Desolate in the Dust,” “Torture Cave,” “Putrid Death” and “Rotten Grave” are fast, brutal tracks in the lineage of Dismember, while “The Smell of Vomit” and “Maniac Killer” reveal the extent of Repellent’s love of Celtic Frost.
Repellent’s 2008 demo shows a ton of potential. The tracks featured here are, on average, a minute and a half to two minutes long and are, admittedly, more like really good ideas than fully fleshed-out songs. But mind you, it’s is only a demo, and a strong one at that.

I don’t fully understand what those Scandinavian kids are doing over there to nail such classic sounds so early in their careers. Maybe it’s their pedigree, or the extreme landscape and climate. Whatever it is, Repellent have it in spades. So when your grubby metal claws come across Repellent’s forthcoming full-length, snag that shit! I know I will. —Henry Yuan

Down’s Phil Anselmo. Photo by Brocha

A few weeks ago, I was fortunate enough to witness one of the heaviest tours in recent history. I’m talking, of course, about the package tour featuring headliners Down, with support from the Melvins and Weedeater.

The night the bands rolled into New York City to play the Nokia Theatre, September 11, was also a heavy night in NYC for other obvious reasons. As a born-and-bred New Yorker, the 8th anniversary of the terror attacks brings with it a very reflective atmosphere; having lived throught the attacks it’s impossible to not remember the fallen and praise the men and women who sacrificed everything to help. That subtle, respectful atmosphere was clearly in the air as the metal fans gathered in Times Square for the show.

Weedeater: (from left) Sheperd, Kirkum, Collins

Weedeater kicked the night off rather early (couldn’t have been later than 7:30) to a small crowd. But as the band’s set gained momentum, the fans definitely started moving into the room. Admittedly, I had never heard of this band before, but they certainly left an impression. Mainly: “Damn, this is heavy.” Not to mention, all this insanity was coming from a three-piece—bassist/vocalist Dave “Dixie” Collins, guitarist Dave Sheperd and drummer Keith Kirkum. There was little stage banter between songs and the band mowed through roughly 30 minutes of loud, filthy, and a bit sloppy, music. Weedeater proved they’re definitely a band that knows how to deliver the stoner metal goods in a live setting. This is one band that’s definitely now on my radar.

The Melvins: (from left) King Buzzo, Warren, Crover, Willis

Up next was none other than the Melvins. I’m going to admit that, as legendary and as influential as they are, I never actually took the time to deeply delve into their extensive catalog. However, what I’d heard I liked, so I was expecting a really good set. And that’s exactly what I got. I always knew this band was a bit off the wall and weird, but when I saw two drum kits onstage and the band walking out to wacked-out intro music, I was sold.

King Buzzo has got to be one of the most charismatic front men I’ve seen in a long time. Everything from his stage clothes, to his hair, to his onstage jokes, to his (literally) all-metal guitar, made the Melvins all the more fun to watch. Witnessing Dale Crover and Big Business drummer Coady Willis bash the skins in perfect sync was killer. The level of skill displayed by these two players had people around me talking for the rest of the night. I also loved the little drum segues between songs.

Another thing worth mentioning is the bassist Jared Warren (Big Business’ other half). His bass is truly in-your-face and its growl pierces the mix without losing any bottom-end heaviness. The conclusion of the band’s nearly 45-minute set came when they performed the National Anthem, replete with help from the other bands’ members and crews. I say this without a hint of irony or cheesiness: it was a truly magical moment.

Down’s Kirk Windstein. Photo by Brocha

After the openers properly warmed up the crowds, Down hit the stage. Put simply: the band was nothing short of spectacular. Phil Anselmo’s infamous stage rants were present, but that night they were of the Southern-hospitality variety. Absent were the random threats and directionless hostility, it was just Phil being grateful, gracious and, of course, a self-professing proud Southern American.

After a brief welcome speech by Phil, the band ripped into “Eyes of the South” and “N.O.D.” Down then delivered a healthy dose of hits from all three of their albums, such as “Lifer,” “Ghosts Along the Mississippi,” “New Orleans is a Dying Whore” and “Pillars of Eternity.”

The rest of the band deserves an honorable mention, of course. Down is clearly a band that wouldn’t be nearly as powerful if not for the chemistry between its members. From the powerful, Bonham-like drumming of Jimmy Bower to the dual-guitar work of Kirk Windstein and Pepper Keenan. The guitarists have always reminded me of a much heavier version of Thin Lizzy’s Scott Gorham and Brian Robertson, mixed with a distinct Southern flavor.

Unfortunately, bassist Rex Brown couldn’t make the tour due to illness, so the spot was filled by the band’s long-time friend, Danny Theriot. Needless to say, he had some big shoes to fill, but he proved up for the task.

Down’s Kirk Windstein. Photo by Brocha

When it was time for the band’s encore, Kirk went into the Van Halen classic “Ain’t Talking ‘Bout Love.” And to my surprise, it was actually quite awesome! After a deafening sing-along and a huge round of applause, the band finished the set with what many fans consider to be their three best songs (all from the NOLA record): “Hail the Leaf,” “Stone the Crow” and finally, the heavier-than-heavy monster, “Bury Me in Smoke.”

During the final section of “Bury,” members of God Forbid and Skid Row’s Snake Sabo hopped onstage and took over instrumental duties, which erupted into a huge onstage party. A perfect, raucous end to a classic Down performance: good times, good friends and really good riffs. —Henry Yuan

Black Sabbath gave birth to heavy metal on February 13, 1970, the day the British band’s self-titled debut was unleashed onto the world.

There, I said it. And to fully appreciate the power of the crew’s (or partial crew’s) new release, The Devil You Know (Rhino), it’s important to revisit some Sabbath history.

Featuring the godlike original lineup of guitarist Tony Iommi, bassist Geezer Butler, drummer Bill Ward and vocalist/self-proclaimed Prince of Darkness Ozzy Osbourne, Black Sabbath established the standard of heavy music with that epic first album, and refined it over their 40 plus year career—a career that hasn’t been without its upheaval.

The first, and most potentially catastrophic event, was the unfortunate and turbulent departure of Ozzy in 1979 due to unprofessional attitudes (read: his legendary drug and alcohol–fueled antics). While Ozzy quickly (and to many, surprisingly) gained newfound success with his solo band (featuring ex-Quiet Riot guitar wizard Randy Rhoads), Tony, Bill and Geezer were still left without a singer.

Ozzy’s replacement came in the form of up-and-coming heavy metal god Ronald James Padavona (who later adopted his now well-known moniker, Dio), formerly of Elf and Ritchie Blackmore’s Rainbow, and the band released Heaven and Hell in April of 1980.

With Dio onboard, Black Sabbath not only came back with a vengeance, but they reshaped the way heavy metal was played, once again, and revolutionized what is now known as doom metal. Heaven and Hell spewed many timeless hits and fan favorites, such as the title track, “Neon Knights,” “Die Young,” “Children of the Sea” and “Lady Evil.”

Butler, Appice, Dio, Iommi

Mob Rules followed just one year later, though Bill Ward was replaced with legendary skinsman Vinny Appice. Even with this “minor setback,” Iommi’s heavier-than-fuck riffs and Butler’s hard-hitting bass delivered the goods (as evident in the album’s classic title track and “The Sign of the Southern Cross”).

Following the release of the band’s next live album, Live Evil, in 1982 Dio called it quits and went on to secure his legacy with his solo band. Tony and Co., on the other hand, kept carrying Sabbath’s fire admirably, albeit coming up a bit short of their previous efforts.

It was also during this time period that Tony became the only original Sabbath member in cast of revolving rock heavyweights, most notably vocalists Glenn Hughes and Ian Gillan (both formerly of Deep Purple), drummer Eric Singer (formerly of Alice Cooper’s band and current Kiss/Avantasia drummer), and bassists Cozy Powell (who has played with Yngwie J. Malmsteen, Michael Schenker and Rainbow) and Bob Daisley (Rainbow, Yngwie and, interestingly enough, both Ozzy and Dio’s bands).

In 1992, the Mob Rules lineup reunited to release Dehumanizer, a return to form of sorts. The rest of the Nineties were spent with the classic lineup of Iommi, Butler, Ward and Ozzy headlining shows and spearheading the annual Ozzfest tour, which produced 1998’s Reunion live album/DVD.

Then in early 2007, the Mob Rules lineup announced they would play some shows under the name Heaven and Hell (thanks to the legal sanction preventing the use of the name Black Sabbath sans Ozzy courtesy of Sharon Osbourne). Bill Ward was originally asked to join but he declined the offer, citing a lack of interest in playing in a band without Ozzy. The reunion was so successful that what started out as a few select shows soon grew into a series of full-blown world tours.

Which brings us to the present—29 years since the release of Heaven and Hell, Tony Iommi, Geezer Butler, Vinny Appice and Ronnie James Dio have released a brand new, surely soon-to-be classic album, The Devil You Know. And without further ado, here’s a look at the greatest, heaviest and most sinister Black Sabbath record since 1975’s Sabotage. (more…)

Destruction’s Schmier

April was a good month for live metal in New York City.

Led by founding bassist/vocalist Schmier (above), classic German thrash band Destruction hit B.B. King’s Blues Bar on April 7 for the last North American stop of their D.E.V.O.L.U.T.I.O.N. – 25 Years of Total Destruction tour. This kick-started a two-day unofficial thrash-fest that culminated the next night when fellow countrymen Kreator hit Nokia Theatre, with support from Bay Area titans Exodus, Austria’s Belphegor, SoCal’s young thrashers Warbringer and Minneapolis’s melodic death metallers Epicurean. Here’s MetalKult’s account of those two totally destructive days. —Henry Yuan

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DESTRUCTION – Live at B.B. King’s Blues Bar and Grill 4/7/09
Support from Krisiun and Mantic Ritual

After weeks of intensive touring and the requisite glitches (Mike Sifringer had his Dean guitar stolen), Destruction finally made it to the Big Apple. But before the Germans hit the stage, we were treated to Mantic Ritual and Krisiun.

Pennsylvania’s Mantic Ritual kicked things off. I wasn’t that familiar with them, but I can say that the highlight of the night was definitely lead guitarist Jeff Potts. His guitar work was extremely fluid and technical and definitely stood out from the rest of the music. Lead singer/guitarist Dan Wetmore was an interesting enough frontman, telling jokes with a dry sense of humor in between songs.

Krisiun’s Moyses Kolesne

Next up was Brazil’s current death metal leaders, Krisiun. I had seen these guys before, so I knew what to expect. I can happily say that they exceeded my expectations and truly delivered the brutality. They came out with “Ominous” into “Combustion Inferno” and held nothing back. These three brothers are also masters of their instruments. Guitarist Moyses Kolesne’s solos positively rip and drummer Max Kolesne can definitely hold his own next to the likes of Inferno or Derek Roddy. Classics like “Murderer” and “Bloodcraft” never sounded better and the new material sounded great as well. From what I saw, they have a pretty big following here. I hope these guys headline here soon.

Destruction

Then, the reason why we were all there: Destruction. After a pretty lengthy set-up, the intro tape played and the band came out and delivered “Soul Collector.” Destruction appeared to be in great spirits and the sound was really good, especially for BB King’s standards. They played a few songs from their latest album, D.E.V.O.L.U.T.I.O.N. (AFM Records) and most of their classics, like “Live Without Sense,” “Release from Agony,” “Tormentor”…the list goes on. Bassist/vocalist Marcel “Schmier” Schirmer announced that the show was being recorded for an upcoming live album, which explained why the sound was so good. I was real happy with their performance, and since it was my first time seeing them, I left with a great impression.

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KREATOR and EXODUS – Live at Nokia Theatre 4/8/09
Support from Belphegor, Warbringer and Epicurean

Kreator (Photo Rod | Le-HibOO.com)

After a brutal concert the night before, I was curious to see how the crowd reacted to this bill in comparison. Epicurean kicked off the night with a heavy slab of American melodic death metal. Their style of music was a bit off the wall for this tour package, but they seemed to get a good reaction. Bassist Eli Pete and singer John Laramy were on fire, while drummer John Gensmer was holding it down behind his massive drum kit. It was during “Lithograph” where the crowd opened up a pretty impressive pit, which is always a very good sign.

Warbringer

Warbringer was up next and, unfortunately for them and us, their drummer, Nic Ritter, had recently suffered a broken arm and his spot was filled in by Epicurean’s mega-talented Gensmer. It’s mind-boggling to witness just how well the band played despite this very last minute replacement (they only had one very short rehearsal prior to the beginning of the tour). While they cut their set a bit short, they did pull out fan favorites such as “At the Crack of Doom,” “Combat Shock” and “Total War.”

Exodus

After an intense and blackened performance from Austria’s Belphegor (Or at least as much I heard, since I got stuck in the bar line for most of it. Du’oh!) the time came for the mighty Exodus to thrash the stage. The band opened their set (and the pit) with the classic “Bonded by Blood” and the crowd couldn’t have gone crazier. Singer Rob Dukes is one of the most intimidating frontmen I have ever seen, and gives the band an extra push of brutality and aggression.

Classics like “A Lesson in Violence” and “Piranha” never sounded so strong and newer songs like “Children of a Worthless God” and “Deathamphetamine” proved that Exodus is still hauling ass. Of course, no Exodus set would be complete without the legendary moshing song “The Toxic Waltz,” which opened a truly insane circle pit. The set ended with the last song off Bonded By Blood, “Strike of the Beast.” Amazing.

Kreator

Finally, it was time to enter the Terror Zone with the almighty Kreator. This was their first tour in support of their crushing new album, Hordes of Chaos (SPV). As soon as the lights dimmed and “Choir of the Damned,” the intro track to the band’s second album Pleasure to Kill, started playing through the P.A. I suspected we were in for a treat. When the guys came out and kicked right into “Hordes of Chaos,” my suspicions were confirmed. The all-out-war continued with “Warcurse,” “Extreme Aggression” and “Phobia,” the latter which has been a live-show staple for years and still illicites the fan chants, “Is there something following you!” They also threw in “Voices of the Dead,” from 2005’s Enemy of God, which is a great song albeit a bit sing-along-y.

Kreator also covered “Pleasure to Kill,” “People of the Lie,” “Betrayer” and, one of my personal favorites, “Coma of Souls.” Throughout the set, mainman Mille Petrozza kept killing it; that dude has one of the most powerful voices and intense screams in all of metal. Period. The night closed out with a medley of their two fastest songs, “Flag of Hate” and “Tormentor.” Kreator’s performance that evening proved, once again, that after more than 25 years in the scene, they are still as strong as ever. Be it at a small club (L’amour’s), a giant open air festival (Wacken) or here at Nokia, no one is left unharmed when these guys hit the town.

What do you get when you create a band with ex-members from Necrophagist and Pestilence? Germany’s brutal tech-death upstarts Obscura, that’s what!

Founded by vocalist/guitarist Steffan Kummerer and drummer Jonas Baumgartl in 2002, Obscura caused quite a stir in the technical/progressive death metal scene with their debut album, 2006’s Retribution. After a major lineup change, with ex-Necrophagist members drummer Hannes Grossmann and guitarist Christian Muenzner and ex-Pestilence fretless bass virtuoso Jeroen Paul Thessiling joining the fold, the band unleashed Cosmogenesis (Relapse Records) earlier this year. Though this band may be relatively new, their sound is planted firmly in the classic styles of Human-era Death and Cynic, while at the same time adding a unique modern tech-death spin on top of it.

The album opens with “The Anticosmic Overload,” which sounds exactly like the name implies. The fretless bass hits you right between the eyes from the get-go (it reminded me a lot like Steve DiGiorgio’s playing in the early Sadus stuff), and that’s just the start of this track’s full-on insanity. In fact, the entire Cosmogenesis album can be summed up by this track’s qualities: uber-technical chops, lightning fast lines and heavy melodies.

Which is not to say that Cosmogenesis doesn’t have some surprises thrown in for good measure. The second track, “Choir of Spirits,” really knocked me off guard with its Paul Masvidal–style android vocals. I’m not going to lie: I literally laughed out loud when I first heard them…and not in a bad way either! I have so much respect for bands that pay tribute to the masters. Once I got past my initial surprise, I began to listen more closely and realized just how perfectly these guys were executing their ideas. It’s amazing how relevant this mix of old-school and modern tech-death sounds in Obscura’s capable hands.

My only complaint with Cosmogenesis is that I felt it could have used even more variety. Granted, technical death metal is an extremely hard genre in which to create a diverse batch of songs while still maintaining that core brutal sound. But, with that said, the songs on this album might blend into each other, but they do so in a totally stand-out fashion…if that makes any sense.

What’s scarier is that these guys are still young and have plenty of time to perfect their already amazing craft. If you’re into bands like Death, Pestilence, Sadus, Cynic and Necrophagist check these guys out. In an oversaturated genre filled with pretentious breakdowns, sweeps, hairstyles, blast beats and ree-ree’s, I think it’s about time true tech-death has returned. Thank god for bands like Obscura. —Henry Yuan