Warming up for my first HC experience - Abismo

Good evening legions,

And I swear I was being a good girl until someone, who happens to share names with a delicious tequila (Don Julio), decided to share a link with me, which made me realize that working at 10:37pm, on a Wednesday evening, is absolutely over-rated; thus, I shall stop wasting my energy with something I can do tomorrow morning, right!? In case I am not right, that's too bad because I already lost interest in editing what I was doing in the first place.

Given that I am only two days away from my first HC experience ever (if I don't remember any other ones, then this is indeed my first one...), I decided to succumb into the world of HC in the hopes that I wouldn't find out that I am allergic to anything other than naughty naughty Black Metal (which seems to be my latest cuppa tea BTW). For the sake of mankind, I am still very tolerant and appreciative of other genre. Not only that; it turns out that I am digging this latest recommendation quite a bit, to the point that I have now been caught in between the sticky web of HC suggestions on Youtube - yes, I have listened to two Madball songs, one Sick of it all, and some other stuff listed there.

In two days from now (well, more like 2 days and 12 hours, because shows here are a freakin' matinee), I will be joining dozens of HC fans (mostly minors) emanating from the various corners of this city, at the Amistad Para Todos Vol 1. show to watch some seriously awesome bands perform (I am dying to see Pitbull Live!) and to witness how they destroy each other in an absurd mosh pit, while I document the best of it with my camera. I have been told that the lighting situation is likely to improve at the Mama place, as the organizer does believe in throwing great shows, which include awesome lighting that will favor my photographic skills. Whether or not that happens, I am still very excited about the show.

Going back to the song that was sent to me: this band has quite the trajectory within the HC seen of Colombia. They have been together since '98, but like every other band, they have undergone a few lineup changes throughout their musical career. That's all I know! As I've said before, I will not pride myself on knowledge I do not have, so straight up, I had only heard of them... Fortunately nothing bad, but not enough to have a clear opinion about them, or the HC scene in this country, for that matter. The band is called Abismo. The song I heard has a rather interesting energy behind it; even though it is truly a great example of what HC, is it has something else that makes their beat quite addictive. I thought the video was very well done and I particularly enjoyed the specific focus on the players, and the depth of field used throughout the video. 

FYI: Abismo will be part of the lineup playing at la Mama this Saturday, so I will make sure to take tons of photos, headbang if I have to and, lastly but certainly not least, bring you more details regarding their performance. 

For the time being, I will leave you with the video that my friend, the tequila homonym, sent me, enjoy!

-Stay Metal-

Fraulein Andrea MMXI

Experiencing the Colombian Metal Scene - Loathsome Faith

Greetings Legions,

As I wonder through the city of Bogota, it is almost inevitable not to want to see what the Metal Scene is up to around here. As many of you already know, I have always been a sucker for Latin American Metal, particularly for the one that emanates from this Country. I spent most of my time at the radio station promoting a scene that does not get the attention it deserves, aside from that given by those who are really intrepid and love seeking new sounds. Oh Latin American Metal, how you always manage to captivate me in the most intriguing ways *sigh*.

Given that good timing seems to be my ally when it comes to checking out new bands, I had the chance to experience the local scene at its best. Yesterday (27/08/2011) at a tiny place called Teatro La Mama, somewhere in Chapinero (I am still trying to get used to getting around this city - not an easy thing BTW), a terrific show was waiting to be discovered. Before I get into the praising, into the applause and all the positive things that I enjoy highlighting, I do have to complaint about a few things (only 2, or 3), the main one being: TIME! 

Mind you, where I come from, a show usually starts around 7 or 8pm. Here, NO WAY JOSE... They have to start at freakin' noon! Well, not really, I kid a tiny bit. But the one yesterday was scheduled to start at freakin' 3 in the afternoon. Jesus "Cerveza Aguila" Christ! Yes, Major WTF indeed! Fortunately, like everywhere else in Latin America, things get delayed for absolutely no reason, and in this case the show started at 4. Either way, I arrived at around 5pm. Now I get into more ranting (more like disappointment, I suppose). One of the main reasons I went to this place was because a Tribute to one of my Favorite bands, Brujeria, was lined up to play yesterday. When I arrived that was the first thing I inquired, and of course they said: Oh, those, no they didn't play... Just like that, no emotion, no reasons, no nothing... My heart shed a tiny tear, and of course, the only thing left to do was to drink the pain away... 

Enough of ranting and drinking, let's highlight the good things. Eventually, I went inside the venue, with enough time to see the next band set up and get ready to rock. And here is where I shed my love and contentment. I will not be a cynic biotch and tell you that I know everything about this band because I really do not and that would be just moronic. I went with an open mind and slightly predisposed to like the band, since I had only heard good things about them and additionally, I had the chance to see their guitarist (Mr. Andres Zamudio) busting some moves, completely by accident and without requesting anything. By the way, before we go on any further, I am talking about Loathsome Faith, from my very own Bogota (yes, the one where I still find it challenging to get around). So, here I am, surrounded by a whole bunch of minors, who have more stamina than anyone else I have ever seen, and they are just waiting to dislocate their necks and beat the shit out of someone else (OH yes, that's another minor detail: To be in a Mosh pit in Colombia requires some SERIOUSLY HUGE balls... Some women here have bigger balls than many men I know back where I come from... If you are still skeptical about what I mean, let me illustrate).

I got sidetracked, but then: MAGIC! The band started playing and the energy surrounding me was absolutely unbelievable. It wasn't just the energy, it was also the talent behind the band itself. You may call me bias and all you want (and I could honestly care less) but any band where Esteban Souza plays has my sign of approval, period. That man is a machine, an android, an improved version of any drummer mankind has ever seen - ok, enough- I hope you get the point. It takes some serious courage to even attempt to keep up with his talent; thus you can imagine this band's lineup: simply breathtaking. The singer, Mr. Angel Niño (he looks like neither one; if you don't understand, go to http://translate.google.com and then you will agree with me) is a monster! His presence on stage, his energy, the voice, everything was simply brutal! I already mentioned my admiration for Mr. Andres Zamudio and I restate that the guy is great at what he does. When it comes to stage presence, he reminds me a bit of Brian Welsh from Korn: Completely emotionless, but Holy Shit! 

After two songs, I just let myself go, and that was probably the best idea I had the whole night (aside from going up some stairs later on to take some photos, which didn't occur to me before...). I enjoyed every single song, particularly the one I will leave you with. Quite frankly, I don't know if this song touches a sensitive fiber in my body or it dares to combine many different factors that make me want to bounce against the walls (the song may kick some serious ass, but I still do not dare to mosh in this country - or anywhere else, for that matter). Truth being: I can't stop listening to this song, and here I am sharing it in the hopes that you join me in joy and bang your head to a terrific Band.

Oh, and before I forget. I did manage to capture a few shots of the band LIVE. I apologize but the lights at this Mama place sucked some serious Afro-descendant member... Either way, feel free to check them out:

-Stay Metal-

Fraulein Andrea MMXI

Kabul Rock City

Featured Article:

Ali M Latifi - Al Jazeera 

Afghan youth take on corruption with Heavy Metal

In November 2010, four 20-something Afghans took the stage at a private party in a Kabul French restaurant. As the young men walked on stage, their long black hair, leather jackets, hoodies, electric guitars, a bass, and a drum kit conspicuously took the place of the traditionally Afghan tabla, harmonium, and robab. This was Afghanistan's "first heavy metal band," D.U., who proceed to rip into a cover of shock-rocker Marilyn Manson's cover of the Eurythmics' "Sweet Dreams (Are Made of This)".


The shock rocker's disturbing and gritty take on a pop song built almost entirely on computers may seem to some as out of place in today's Afghanistan, but it is in fact a perfect continuation of Afghanistan's long legacy of music and poetry. From Rabia Balkhi's fabled odes, to her beloved writing on the walls of a hamam (bath) with the very blood gushing out of her jugular veins in the final moments of her life, to an iconic Afghan singer-songwriter singing about crushing defeats in a life full of "death and despair" in the 1970s, the rich history of poetry and music in Afghanistan has often veered onto darker paths than the devotionals to the beloved that have made Afghan-born Jalal ad-Din Muhammad Rumi the world's best-selling poet.


Though icons of Afghan music like Ahmad Zahir, Farhad Darya, and the band Stars have been mixing Western and traditionally Afghan styles of music since the 1970s, D.U. is part of a new wave in the youth-led Afghan music scene. Along with the White Page and Afghan-American singer-songwriter Ariana Delawari, D.U.'s music has the distinct character of post-Taliban Kabul. This is music that is as much affected by the artists' time outside the nation as they are brazenly vocal affronts to Taliban-era repression of Afghan culture and self-expression.


Sweet Dreams

For D.U., the lyrics of Sweet Dreams describe the only Kabul they, along with their peers, have ever known. "It deals with reality. You are used and abused by other people as the poor are taken advantage of by the powerful and rich," said D.U.'s lead singer, who after on-going criticism by conservatives recently decided the band members must conceal their identities. In Kabul, the refrain from what was once a synth-heavy piece of 1980s British pop becomes a statement on a society where the youth, who make up the majority of the nation's population, have had to watch as every institution has been accused of fraud and corruption from the presidency to the over 1,600 international NGOs and the banking system.
  
A society in which they can perform loud, raucous music full of aggression within shouting distance of a masjid, where their vocals soar over the Azan (call to prayer), but only behind Michael Meyers-style masks. It is a society in which two bands made of long-time friends have opposing views of the notoriety their performances have earned them. Attacked and branded as "satanists", whose music "is too dark, negative", and therefore "un-Afghan", led the members of D.U. to conceal their identities. Lead singer of The White Page, Mirwais Mohsen, on the other hand, says "the band has no fear of retribution" and granted Al Jazeera permission to publish their names.


"We can't sing about going to get coffee with your girlfriend because that isn't happening in Kabul right now," said the lead singer of D.U., who has an avid listener of heavy metal for 12 years now. For the members of D.U. and the members of The White Page, another rock band in Kabul, life in Afghanistan today is a paradox.


On the one hand, the children chase after them as they go gliding through Kabul and Herat on the skateboards the children have come to call Karachi gakha (little carts). But on the other, they live in a city "where while walking down the street something could explode" leaving dozens of those very children dead, said D.U. 's lead singer.


My World

In his initial embrace of Western music as a refugee in Pakistan, bandmember Mohsen fell in love with hip hop but soon left it after hearing the likes of System of a Down and Tool. The son of the director of Afghanistan's National Institute of Music, Mohsen says he was drawn to rock music because of its subject matter. D.U., too, felt drawn to rock by "the very pure topics in the music." "We have to talk about real issues in society and metal allows us to do that", says the lead singer of D.U., who has always felt connected to various genres of rock. That connection eventually led the members of D.U. and The White Page from their first loves of Iranian pop, Farhad Darya, and Western classical music to a full-on embrace of heavy metal.


Dress You Up

Meanwhile, nearly 8,000 miles away in Pasadena, California, Ariana Delawari would go from donning lace gloves and bandanas as she danced and sang along with Madonna songs in her bedroom, to parties in the living room of her childhood home where her father's friends played live covers of Afghan singer-songwriter Ahmad Zahir.  From the statement-making songs of the Material Girl and the King of Afghan music (Ahmad Zahir), Delawari would go on to embrace the protest music of John Lennon, Bob Dylan, Bjork, K'naan, and Radiohead. As Dylan asked, "How many years can some people exist / Before they’re allowed to be free?" Delawari's mother would tell her tales of revolutionary figures like Che Guevara and Ahmad Shah Massood.


This constant mix of the Western and the Eastern, the political and the cultural, would form the groundwork for Delawari's debut album, Lion of Panjshir. Named for the controversial military commander, Ahmad Shah Massood, whom the Wall Street Journal dubbed "the Afghan who won the Cold War", Delawari travelled to Kabul in 2007 to record the album with three ostads (masters) of traditional Afghan instruments.


Sitting on the floors of a house in war-torn Kabul, this Afghan-American girl - who used to idolize a woman made famous by pushing religious and sexual barriers, was in fact continuing in a centuries-old tradition of a student learning from the masters of classical Afghan instruments. Delawari's lyrical delivery, which has been compared to the likes of Devendra Banhart, may have labeled Taliban tactics as bullying, but the music of the robab, tabla, and harmonium - played by heart, were the same notes that have been passed down from master to student for hundreds of years in Afghanistan.


War Within a Breath


Growing up in Afghanistan, Iran, California, India, and Pakistan may have led to very distinct life experiences, but the members of D.U., The White Page, and Ariana Delawari were all linked by a shared Afghan culture and a drive to create music that was reflective of that diversity of experiences. "We want people to know through our music that you are still alive on this day. That you need to solve your problems", said the lead singer of D.U. Music based on life in refugee camps and war zones may prove unsettling for some, but for D.U., the questions and unease felt by the audience is part of the fun. "In art you have to do something that discomforts people. When the audience asks what is that, and thinks it's gross, it's very powerful."


Inspired by the protest artists of her childhood, Delawari sets out to move people with music she says is based on her life. For the David Lynch-produced Lion of Panjshir, Delawari used the connection she felt to the American artists "who used their liberty to speak for truth" to write an album that is deeply political, while also addressing themes of love, legacy, and transcendence.

"As an Afghan I feel like how can I not address the years of destruction and injustice our people have been living with," says Delawari of an album that includes a re-write of an Ahmad Zahir song originally about infatuation. The song about wanting to enter the house of the beloved becomes a rumination on the notion of home in a nation with one of the world's largest number of refugees on Delawari's album released some 40 years after the Ahmad Zahir classic. One track prior in that same album, Delawari tells the story of a young Talib who must watch his mother struggle as she tries to provide food for her family as a robab, violin, and rain stick play in the background. Delawari says the message of the resulting album is to ask "what happens when a land is forgotten, when we pound on the doors of our government and no one listens?" This is a question that as an Afghan-American, Delawari could ask the governments of the two nations that have informed both her identity and her music.


For The White Page, the medium itself is the message. "We want peace through our music, but it is not inherently political," says Mohsen of the Persian-language music the band is currently writing. On stage they may look more like The Ramones or the Foo Fighters, but D.U. and The White Page both want to incorporate elements of traditional Afghan music in their original compositions. Whether it references poems of the world's best-selling poet Rumi (born in Balkh, Afghanistan), who has been a source of inspiration to musicians in the Persian-speaking world for decades now, or includes traditional Afghan musical instruments D.U. and Mohsen say both bands always want to have Afghan elements in their music. Of course, this is still metal, which means "classical poetry with growling vocals," says D.U.


Mohsen says he does not care for many of the new Afghan singers. Instead, he falls asleep every night to the Hindi classical music he and millions of other Afghans listen to. His unique fusion of Black Sabbath-style growling with Rumi and Hafez's poetry about love and faith will appeal to the youth of Afghanistan, whom Mohsen says are scouring the internet and the racks of pirated albums that line the Western sections of Afghanistan's music stores for new sounds.


This fusion of the staples of Afghan music – tabla, harmonium, robab, and Persian poetry – with the aggression and growling that both bands see as central to Metal, is a continuation of an ongoing global trend of making something you have had a long-time connection to more your own, whenever newer styles of music infiltrate a nation's popular culture. "The more hybrid the music is, the more people get into it because it really feels like its 'their' music,'" says Mark Levine, a professor of history at UC Irvine and author of Heavy Metal Islam.


For Delawari, this mix of the traditional with the Western is important as an expression of the depths of Afghan culture. "The history behind our instruments is incredible. The world needs to know where these sounds originated from," says Delawari, whose new music video for her single "Be Gone Taliban" is meant to be a visual expression of that history.


Rebel Yell


Though all three acts have had to face criticism for their distinctive musical styles, for them it is a natural progression both personally and culturally. "You don't need to be Westernized to be modern and contemporary … It's not a bad thing to be mixed between cultures," says D.U.'s lead singer, who along with his brother and bandmate lived in Iran for 18 of the ongoing 30 years of war in Afghanistan. D.U. calls criticisms of their music as being too Western or antithetical to a conservative view of Afghan culture a cliche. "We never want our music to be too Western. We are us," says D.U. of a band comprised of proud muslims. "We are us. We are Afghan."


Levine says authoritarian groups, whether it is 1997 Egypt or Taliban-controlled Afghanistan, often label new art forms as "satanic" because "these kids' creation of alternative, autonomous subcultures was a threat to their patriarchal, authoritarian control." Even for more secular regimes, like former Egyptian president, Hosni Mubarak's, Levine says labeling "music [that] sounded strange and violent" as a corruptive force can be a very political move. In doing so, Levine says these leaders had stumbled upon a way to "score points with conservative religious forces", something that many of current Afghan President Hamid Karzai's most unpopular policy decisions were seen as being motivated by.


Delawari, who always felt connected to Afghanistan, despite growing up in Pasadena, California, admits that to some her incorporation of Afghan classical instruments in her music may be seen as an act of youthful rebellion "more anarchical than if I were born in Kabul wanting to have a punk band or metal band." Thus, Delawari, rather than embracing the dance-pop of her childhood idol, traveled to Kabul in 2007 to include traditionally Afghan elements in her music. She says she can "see how young people in Afghanistan are drawn toward something different from tradition."


The music resulting from this mix of cultures and rebellious spirits goes beyond simply blurring genre lines to creating a contemporary context for the Afghan music scene. Whether  the artist discovered their favourite acts on the radio cruising down the Pacific Coast Highway, on internet file-sharing services in Pakistan, or in the racks of bootlegged CDs in Kabul music stores, each one used the music that inspired them – from Janis Joplin and Zaher Howaida to Metallica and Bjork – to make statements  about an Afghanistan that has gone from being known for hospitality, poetry, and music to having a reputation for  Kalashnikovs, chadoris (burqas), and drugs.


In an ultimate act of rebellion against the Taliban-era forced conservativism, The White Page and D.U. will be joined by other bands from Afghanistan, Iran, Tajikistan and Pakistan at the Sound Central festival in Kabul this autumn. D.U. says that during these performances, the thing that the band values the most - "the volume of energy we want to pass on to the people" - will be put to a test. "We are the tongue for the Afghan youth to speak their feelings. We want them to have their energy spent on something creative and new, not wasted on street fights," D.U. says of their role in Afghan society.


The bands that until recently played for largely ex-pat audiences want to look out into a sea of people and witness "crowds of Afghans head-banging and moshing" on the streets of an ancient city.

Flickr Update - Keep Of Kalessin, Hate and my beloved Belphegor

Good Evening Legions,

I have finished uploading some photos from the Sepultura concert that took place a few months ago at the Opera house in T.O.

You can now find the updated set of Hate, which includes both photos from the Mod Club  (with Rotting Christ) and the Opera House (the most recent ones). You can also find some shots from Norwegian Extremists Keep of Kalessin and last, but certainly NEVER least, my beloved Belphegor :)

I still have to upload a few more shots and la voila, I will consider myself up-to-date when it comes to uploading concert photos (aside from the latest Moonspell, but I am hoping to finish that before the end of this month).

The Almighty Hate from Poland

Keep Of Kalessin from Norway 

All Hugz and Kisses!
Aren't they cute ^.^? 

Stay tuned for more :)




-Stay Metal-
MM Dre - dnklschwrz MMXI

Love love love <3

Dusting Off Old Records - Ancient Ceremony

Mighty Hails to y'all,

Oh, the perks of moving.... (sigh). The best thing about packing  is that one comes across an abundant series of interesting things, which one may have completely forgotten about. Things that for one reason or another did not catch one's attention to be relevant enough to make it around the house. Either way, I enjoy encountering random little surprises, just like the one I am about to tell you.

As I was packing my music collection, I found a little envelope with a rather discolored cover, which includes an agonizing Jesus, some skulls, I guess there is a drawing of a hypothetical Satan, some eyes, a tribal and another Jesus... among other things. This interesting record is called Death Knell Compilation, and it was released in 2001 through Eternal Night Records from Ibague, Colombia. This album comprises an array of great songs originating from many places in the world.  As a matter of fact, I tried to look up a few of the featured songs online and failed miserably (if it ain't on YouTube, it's a relic!). One thing: Do not let the name fool you. Even though the album is promoted as a DM compilation, it contains a great deal of Thrash and Black Metal. Regardless of genre, all the songs are at the same level of atrocity. 

The record hits it off with a classic Colombian DM band called Agony, and a beautiful song from their 2002 Reborn called Sacred. WAY to start off a freaking Metal compilation!  It brought back tons of memories from when I created Latin Distortion back in 2007. Songs like Sacred were the reason behind the show's existence. That right there, fellow reader, was the beginning of the Golden Age of Metal in my life (sigh). As the album progresses, one encounters bands like Dysanchely, Tombe, Denata, Incinerator, Horfixion (proudly Made in Canada), Festerguts, Stormcrow, Warlust, Nefarium, Abomination, Mithras, Throneum, Hatework, and last but certainly not least,  Prosapia. There is a band that I did not include in the list, since I was really blown away by their contribution to this album. They are a legendary BM band from Neumagen-Dhron, Germany, who came to live about 22 years ago under the Name of Ancient Ceremony.  


The band hit it off quite well and started gaining some serious popularity among the metal scene in Europe, where they had the opportunity to interact within the same circles as bands like In Flames, Absu and Impaled Nazarene, among others.   Years later, the band was playing with some of the greatest metal acts of the time, such as Moonspell, Therion and Dimmu Borgir just to mention a few.  Like many other Satanic-influenced acts, Ancient Ceremony did not the survive attacks from the Catholic Church, who protested in 2003 after the band got confirmed to play in one of Germany's largest Metal festivals. Ecclesiastic authorities forced the government to ban the band's act, as they argued that it would openly spread blasphemy and promote Satanism.   Havoc broke because of the early release of their album entitled "P.uritan's B.lasphemy C.all (Ruf-Mord)", whose acronym spells PBC; that being the name of a radical Christian party in Germany. For this reason, many record labels refused to distribute the band's material due to fears of controversy.  Given that there is no rest for the wicked, this religious persecution went as far as to sue the band's vocalist, Chris Anderle, but for the sake of everyone's sanity, nothing really happened and the very controversial album eventually got released through Irond Records in '06.    

Unfortunately the band disbanded back in 2005 and ever since then, no one has heard anything about them.  Until today.... which is when I came across their song on the Death Knell Compilation, Crowned Child and as I mentioned before, it blew my skin away. I am glad to be able to share it with you on this not so sunny afternoon. 

-Stay Metal-Fraulein Andrea MMXI

Cradle of Filth's Lilith Immaculate Video

Greetings Almighty Legions,

I am very pleased to announce the release of the official video of what I consider the best song of Cradle of Filth's Darkly, Darkly, Venus Aversa:  Lilith Immaculate. But before I go on praising this tune, I have to over emphasize my disappointment with the video. As I have stated several times in this humble blog, I refuse to give up my appreciation for COF; and yet, they continuously fail to meet my expectations. I know I am certainly not alone in this matter.

After I heard that they had released the video for Lilith Immaculate, I can't quite describe what I experienced at that exact moment in time. It was a mixture of happiness, excitement, surprise, nostalgia, and many other feelings mixed into one body (that is indeed a lot to encounter in one moment alone, but I hope I was able to draw the picture). As I proceeded to watch the video, I simply could not stop thinking about how the band has changed (I do not dare to use the term evolved, as my views on the matter may not necessarily contribute in a positive way to the admiration of their musical advancements and the direction they have chosen to take on), particularly in terms of popularity. Then, I went through a few  flashbacks from the glorious times of The Principle of Evil Made Flesh, Cruelty and the Beast, and even Midian. Oh those marvelous memories that will not come back, where COF's videos were the epiphany of darkness and eeriness with a touch of Simon Marsden. There was From Cradle to Enslave: so potent, so direct, so aggressive. What a classic! And then... painful memories haunted me worse than a bad LSD trip. I remembered their recently released Forgive me Father (I have sinned) and my dreams of triumphant times shattered. This face describes that: 
.

I am about to start ranting, so let's get things clear: I understand that once a band makes it into the mainstream scene, they need to stick to whatever is it that makes the moola, otherwise they are at risk of losing that "it" factor and become dust in the wind... On that note, forget passion and dedication and say welcome to decadence and to living like a legendary Rockstar, as long as you are willing to produce whatever sells . I certainly wouldn't mind living such, but you cannot simply forget where you came from, otherwise the essence of what made you larger than life will vanish, and so will the cash, period. Thus, COF's latest work reflects exactly how fame has ruined a perfectly unique band and turn it into what it is now. COF was never your-neighbors'-obscure-garage-band project. I mean, look at their previous line up: Gian Pyers, Darren White, freakin'  Nicholas Barker, and Andrea Meyer (or Haugen or Nebelhexe...) among others; not to mention Paul Allender, Dave Pybus, Sarah Jezebel Deva, and even D.F. himself.   I remember their theatrical performances, for the sake of Gothic ambiance, and so forth, but now it is getting a bit too ridiculous. 


I am certainly not enjoying their videos in HD, as I feel that instead of looking omnipotent, it makes them look absurd, and rather comical.  Forget singing about Satan, when you look like a possessed life-size Muppet, dressed like the Crow. Enough of anger, here is the video so that you can draw your own conclusions.





 And still, even though I have just brutally criticized them, I am not ashamed to admit that I still follow them, I buy their albums and go to their shows. You may ask why, and even if you don't, I don't mind telling you. It is because of songs like Lilith Immaculate that I still see what made me like them in the first place. It may not be From Cradle to Enslave or even that beautiful cover of Hallowed be Thy name, but it is work that has been well-put together. So, I keep on hoping, and hoping, and hoping... that my admiration will not vanish. 


-Stay Metal-
Fraulein Andrea MMXI

    

Rotting Christ - Show Photos

Hails Fellow Metal Lovers,

I have finally finished uploading the photos of the Rotting Christ concert (I know... They are incredibly delayed!) for your previewing pleasure.

Enjoy

-Stay Metal-

MM Dre - dnklschwrz MMXI

MELECHESH Photos from the Rotting Christ Show in Toronto.

Greetings Mighty Legions,

Below is the link to check out the Melechesh photos from their set during the Rotting Christ concert, at the Mod Club!

Enjoy :)

-Stay Metal-

MM  Dre - dnklschwrz MMXI

Major Photo-Editing Binge, So let's talk about MELECHESH!

Hails Almighty Legions,

On such a lovely Spring afternoon, I feel absolutely compelled to finish editing some concert shots from a few months ago and highlight some other things that I had kept on neglecting. I refuse to go out and enjoy myself under the sun if I do not finish this stuff.  I am officially done editing the Hate badge (Feel free to check it out) and have moved onto the Great Melechesh (my body shakes from simply writing their name...).

I had been meaning to write about Melechesh since I saw them opening for Rotting Christ at the Mod Club in March of this year, but in all honesty it kept on getting postponed, until today!  Seeing this band LIVE has been the closest thing I can associate with a life-changing experience.  

It all started with a few beers and simply watching the other bands perform. There was Lecherous Nocturne (who put on a decent show), followed by Abigail Williams (Veeeeery Boooooring U_U... I have seen these guys a few times but I must say that this was by far their worst performance. I was falling asleep -ZZZzzz-, so to prevent falling on my face, I had to go inhale some nicotine. On a positive note, I did manage to catch some cool shots of their set), The Almighty Hate (I can't get enough of these guys!) and before the big R.C. there was light emanating all the way from the Eastern side of the Mediterranean Sea, which magically got transported to the stage of the Mod Club.

Before I go on and shed my heart here, I will admit, straight up, that before this evening, never had I ever heard of Melechesh (and indeed, I had not lived properly all those years). I had heard of bands that play a similar genre, such as Orphan Land, but Middle Eastern-Influenced Death Metal from Israel was not on my top 5 of obvious things that everyone should know. 

Back to the show...

I barely remember when the break in between bands ended, when suddenly and unexpectedly, this powerful  force
 practically slapped me across the floor. What I experienced was the closest thing to love at first sight and has remained like that ever since! My first thought of this band: Holy Shit, It's like dancing the dance of the 7 veils but 50 times faster: Just WOW! I remember I was hanging out with some friends, some of which were part of the radical right-wing-let's-hate-on-everyone group. Next thing I knew, I was the only one in the entire venue  dancing to the Rebirth of the Nemesis! It was a beautiful moment that I will never forget. Even though RC put on a wicked show, at the end of the day, the band that I paid to see was Melechesh.


Dear Melechesh: Let's hope our paths meet sooner than later, so I can get my dancing on again :) In the meantime, I will settle for the following video and for the photos that I took at the concert, which I hope to finish editing this week for your viewing pleasure.

-Stay Metal-MM Dre - dnklschwrz MMXI

PERPETUAL - South American Tour

Greetings South American Legions,

Melodic Death Metal Sensation, Perpetual, is beginning their South American Tour in a few months.  They will begin in their native Colombia, followed by a few shows in Venezuela, Ecuador, Peru, Chile, Argentina, Uruguay and Paraguay.

For more details about the band and their upcoming shows, you can visit their Facebook Page.

-Stay Metal-

MM Dre - dnklschwrz MMXI