Changes to the monthly competitions

Hi and welcome back to Amazing Ourstage. We want to let you know that there will be changes to the prizes we are offering.Every month will be different.
This month we are awarding prizes of $100 to winners of the competitions finals.In the future there will be prizes to help your musical career. Check back to find out.

OurStage is now part of Amazing Media

Come back to see the improvements to OurStage over the next few months.

to upload music …
to listen to it.
For instore music solutions
Author: Munson the Destroyer
amazing icon

Video Playback Error

The Adobe Flash Player is required to watch videos on this page

Author: "Munson the Destroyer"

home buzz rock pop urban country

Metal Monday: Revocation Q&A

One of the more anticipated albums in the metal community at large this summer has to be Revocation‘s upcoming album Chaos of Forms, set for release on August 16th (Relapse Records), a follow-up to 2009′s excellent Existence Is Futile. Technically, Chaos is the band’s fourth album, but third under the Revocation moniker and second release on Relapse. Having been named the Number 1 modern metal guitarist by MetalSucks earlier this year, David Davidson shouldered some pretty high expectations alongside his Revocation bandmates but, boy, did they ever deliver. Chaos of Forms is certainly one of the strongest metal albums of 2011 so far. David was nice enough to answer some of our questions regarding the new album and Revocation in general amidst their busy summer touring schedule.

OS: You guys play a lot of hometown shows in Boston, how do these gigs usually compare with gigs in other cities?

DD: It’s always great to play in your hometown since all your friends come out and it feels like one big party. Plus, if we’re doing a local one off show, we know that we don’t have to do an eight+ hour long drive the next day so we can hang out and rage all night after the gig!

OS: Have you ever thought about having guest spots on your albums? If you could have anyone guest on a Revocation song, who would you choose?

DD: We’ve had guest spots on our records before. On Empire of the Obscene we had our buddies Pat Henry (Swashbuckle) and James Delahanty (Random Acts of Violence) do guest vocals on the title track. It would be rad if we could get someone like Phil Anselmo or Mike Patton to do some guest vocals on a song. I really admire both their styles a lot.


Revocation, looking grim

Continue reading ‘Metal Monday: Revocation Q&A’

Metal Monday: Solerrain Takes You To A Brutal Lonely Place

If you’re a regular reader of Metal Mondays here at OurStage, you might remember a feature I wrote called “From Russia With Metal” about the band Illidiance. It would appear that Illidiance isn’t the only OurStage metal band from Russia cranking out killer metal tunes. Solerrain, hailing from St. Petersburg, is another metal band from Russia ready to melt your face.

Solerrain play a style of metal that’s not been utilized by many bands in recent years: extreme power metal. Since Wintersun still hasn’t released Time, Children of Bodom peaked a bunch of years ago and Norther has been consistently mediocre on their last few albums, someone’s got to pick up the slack (don’t worry, Kalmah and Ensiferum are still going strong). Sure seems like Solerrain would be an obvious fit for this role as they’re still pretty new on the scene, and they bring it fast and hard. In fact, Solerrain don’t seem to know the meaning of the word moderation, as every song they’ve got on OurStage is full-throttle at every moment.

Blood and facepaint = totally metal

As a metal band, you can’t really play at light speed tempos unless you’re masterfully proficient at your instruments, and that’s something that Solerrain have in full. Every note and slightest nuance in every guitar line is perfectly executed, every keystroke by the keyboardist is precise and every syllable of every word is delivered with force. If you’re looking for a lack of musical proficiency here, you’ll not find it.

A bit remarkably, Solerrain recorded two separate versions of their album Fighting The Illusions—one in English, one in Russian—to both appeal to their homeland and to countries around the world. They also have a penchant for covering pop songs that haven’t been relevant since the early 2000s (like Crazytown’s “Butterfly” for example). You can check out a few songs from the English version of Fighting The Illusions below. Prepare to have your face melted:

Metal Monday: All Shall Perish Say This Is Where It Ends

What happens when you’re an elite deathcore band that parted ways with the lead guitarist on the two records that catapulted you to the forefront of the genre? Well, if you’re All Shall Perish, you get someone who is just as fantastically talented. Not long after releasing Awaken The Dreamers in 2008, the band said goodbye to guitarist Chris Storey, eventually joining forces with shred master Francesco Artusato for 2011′s This Is Where It Ends. The change has had an enormous effect on the band’s style, and it is clearly for the better.

All Shall Perish also teamed up with Sea of Treachery drummer Adam Pierce following the departure of longtime drummer and founding member Matt Kuykendall. Both Francesco and Adam do a wonderful job of filling some pretty large shoes for This Is Where It Ends. All Shall Perish’s guitar work is far beyond one-dimensional. Opting for (and making great use of) 8-string guitars on some of the new songs, the range of style, technicality and heaviness is not seen very often in deathcore bands. At times slow and emotional, at others frenetic and groovy, there isn’t a moment on the album in which the guitars are not ideal for the song.

Beyond the new guitar and drum dynamics, Hernan “Eddie” Hermida’s vocal work is his best yet. Lyrically interesting and perfectly enunciated, Eddie has set the gold standard for vocalists in modern extreme metal acts. His arsenal includes guttural lows, shrieking highs, bellowing mids and raucous yells—and just about everything in between. Most importantly, he knows exactly how to use them.

Picking a weak track on the album is nearly impossible as This Is Where It Ends is one brilliant musical idea after another, all perfectly executed and strung together in an order that feels right. The few moments in which All Shall Perish aren’t melting your face or working to incite all-out riots in the mosh pit are much needed and welcome transitions between ideas and sections of the album.

Continue reading ‘Metal Monday: All Shall Perish Say This Is Where It Ends’

Metal Monday: Ten Reasons Decapitated Is Probably Better Than You

It’s pretty tough to find a death metal fan that doesn’t actually like Decapitated. Formed back in 1996 by brothers “Vogg” and “Vitek” Kieltyka, “Martin” Rygiel and “Sauron aka Pig” Wąsowicz, the band put out three fantastic death metal albums with its original lineup. Since adding new members, there have been two more albums under the Decapitated name, including the 2011 release Carnival Is Forever. For those of you who aren’t fans yet, here’s ten reasons why Decapitated are more awesome than you. If you are a fan, well, here’s ten reasons why you should continue your appreciation of this fantastic death metal band.

  1. Upon recording what many consider Decapitated’s best album (Winds of Creation), drummer Vitek was a mere fifteen years old. No, that’s not a joke. He had joined the band in 1996 when he was twelve years old. Think of the things you could do when you were twelve years old. Chances are that playing drums in a death metal band would not be one of those things. By the time Winds of Creation came out in 2000 on Earache records, Decapitated had already recorded two demos with Vitek behind the kit.
  2. Guitarist and primary songwriter Vogg went to school to study to become an accordionist. However brutal the accordion is as an instrument is, it doesn’t have anything to do with playing metal (unless you’re part of the pirate metal movement), but it does mean that Vogg knows his stuff, having spent time at Poland’s Academy of Music in Kraków.
  3. Decapitated wrote “Spheres of Madness” and you didn’t. Quite possibly one of the mosh-tastic song ever written, “Spheres of Madness” is five minutes and fifteen seconds of blunt metal force straight to the brain. From start to finish, everything about the song is perfectly simple and unforgiving. Almost impossible not to bang your head the instant you hear the opening riff.
  4. From 2000 to 2006, Decapitated released four outrageously good albums. Think about this for a second: how many metal bands do you know that can put out more than one great album? How about four? And at a pace of one every other year? What about bands who don’t put out anything that isn’t fantastic? Yeah, it’s a pretty short list (unless you’re a fanboy of a lot of bands). Such incredibly high and consistent performance is to be truly admired.
  5. Decapitated were churning out great and innovative death metal in a time that the death metal scene had become somewhat stale. In the early 2000s, death metal hadn’t really seen anything new or exciting happen as it was filled with the same great death metal bands from the ’90s. As noted on the band’s Wikipedia page, Decapitated’s debut album came at a crucial time for death metal and played a huge part in the development of technical death metal after it was released.
  6. The members of Decapitated have so much talent they need to play in more than one band. In addition to Decapitated, Vogg has guitar duties in Lux Occulta and Sceptic, and even did a stint with their legendary Polish brethren Vader. Before his passing, Vitek was pulling triple duty, drumming for Decapitated, Panzer X and Dies Irae. Like Vogg, Martin Rygiel is a member of Lux Occulta. Decapitated’s new bassist Filip “Heinrich” Hałucha plays in Vesania, Rootwater, Masachist and Decapitated (and for a couple years, was in UnSun as well).
  7. Original Decapitated Lineup

    Original Decapitated Lineup

  8. Unlike many metal bands, Decapitated have never stopped evolving. Rather than sink into a particular style or form and just hang out until people stopped caring about them, each of Decapitated’s albums are a bit different and follow a rather clear evolution. Never so extreme that it doesn’t make any sense (hello, Morbid Angel), but still a clear step away from their previous work. Even on Carnival Is Forever the band still features a very familiar style for the band, but still fresh and exciting.
  9. After his younger brother’s passing, and being the only original member of the band, Vogg decided to continue releasing albums as Decapitated.Vitek passed on in 2007, not quite two years after the release of Organic Hallucinations. At that time, the band went on indefinite hiatus. It wasn’t until late 2009 that Vogg announced he had found the right musicians to continue the work that he and Vitek had started. In 2011 we see the finished product, and you know what, it’s pretty stinking good. Vogg has even been quoted as saying “It has been the hardest thing for me to move on without Vitek by my side, but he would have wanted me to continue with the band.”
  10. 2011 Decapitation Lineup

    2011 Decapitated Lineup

  11. The drums on Carnival Is Forever were recorded live and without triggers. Again, this isn’t a joke. Hearing that a technical death metal album was recorded without drum triggers in 2011 is like hearing that someone saw the Loch Ness Monster or a unicorn—it’s just not believable. That being said, it did happen, and it came out extremely well. Krimh’s drumming on the entire album is remarkably clean.
  12. Just so we’re clear, they wrote “Spheres of Madness”. So what if I’m beating a dead horse? It’s “Spheres of Madness” and it will crush your soul.

Not that you needed ten reasons outside of Decapitated’s fantastic music to become a fan of the band, but those reasons can’t hurt. You can grab Decapitated’s latest album (along with all of their other albums) from most major album retailers and around the ‘net at places such as Amazon or iTunes. Decapitated are an essential addition to any metalhead’s collection!

Metal Monday: Septicflesh Q&A

How many Greek metal bands can you name? Chances are this number won’t be very high if you’re not from a place near or in Greece. Now, how many bands that recorded a metal album with the Prague Philharmonic Orchestra can you name? Chances are this number is also pretty low. Well, Septicflesh works as an answer to both of these questions. They released a pretty fantastic album earlier this year titled The Great Mass, a follow-up to 2009′s masterful Communion (which was also recorded with the Prague Philharmonic). Fresh off their second release with Season of Mist and currently touring with Obscura, Devin Townsend and Children of Bodom, guitarist Sotiris Vayenas took some time to answer some questions for us about the band’s recent happenings.

OS: Describe the process of recording with the Prague Philharmonic for The Great Mass (much like you did with Communion).

SV: Chris Antoniou was once again responsible for the creation of the classical arrangements of the songs and also the main supervisor of the specific recordings which took place in Prague. This time, Chris supervised the whole recording process from Greece utilizing the great potential of the Internet. As you can imagine there was a lot of hard work and planning for everything to work out as we demanded, especially considering the fact that The Great Mass has the most elaborate symphonic parts that we ever recorded. Chris started working with the symphonic parts at a very early stage of the [creative] process. So we had a lot of time to experiment and at the same time to try to achieve the proper balance with the heavy parts.

OS: Did the writing of the symphonic elements change after Communion when you had the experience of recording with a full choir and orchestra?

SV: With Communion we gained a lot of experience considering the combination of the brutal with the symphonic elements. So now we felt more confident to attempt a bolder experimentation towards the specific musical direction. In The Great Mass, we had a lot more instruments in our disposal and, in other words, a wider range of sound fields to experiment with. Chris had the chance to try a lot of different techniques that are used in modern classical compositions and even in film scores, and that is why the new album has an almost cinematic feeling to it.

OS: It would appear that you guys haven’t created an official music video to any of Septicflesh’s music since 1998–would you ever consider it again? Why or why not?

SV: Indeed, although our music is perfect for visualization we have not a lot of visual material to present to our fans. So we are thinking it is about time to shoot a videoclip for one of the songs of the new album. But we won’t rush things, as we want to create something special, dark and artistic. We will think about it later this year, after the first wave of touring in USA and Europe is completed.

OS: What sorts of composers or orchestral works provided influence for the scored parts of the album?

SV: Igor Stravinsky, Wojciech Kilar, Danny Elfman, Clint Mansell, Howard Shore are some from composers that we admire a lot.

OS: What do you think of the performance Dimmu Borgir did with a full orchestra live? Would you ever consider doing an event like that?

SV: It was really cool for Dimmu Borgir to bring the orchestra to the stage and perform their songs in full detail. It is something that we are also intending of doing, although we are not so rich to attempt it in such a large scale. At the time being, we are considering our options and we are in touch with some classical musicians. I hope that everything will turn out well and that we will manage to organize such a tricky special event for The Great Mass.

OS: So, tell us about some of the lyrical themes from The Great Mass, and what inspired you to write them.

SV: Esotericism is always one of my favorite sources of our inspiration. The Great Mass is actually a kind of a Black Mass composed from ten psalms, which praises the rebellious spirit. Each psalm deals with a specific theme. Some topics discussed are amnesia, dreams as a uniting bridge between the living and the undead, the importance of forging an iron will and choosing everlasting goals, the duality of beast and man, the secret behind the Pythagorean star of the elements, etc. Something that connects the various themes is the use of religious symbolism in an unsettling, deconstructive way. Also I attempted a word-play throughout the album, with the different meanings that can be attributed to the word “mass”…

OS: If someone were to approach you and ask you to do the score/soundtrack to a film, much like Daft Punk did for TRON: Legacy or Trent Reznor did for The Social Network, would you consider it (why or why not)? What sort of films would you want to score, and which would you not want to score?

SV: It would be great to get involved in film scoring. Our music could fit to science fiction, horror, psychological thrillers, even to epic stuff. Of course it would be out of context to be involved to a romantic movie or a comedy.

The last two Septicflesh albums are absolute must-haves for any metalhead’s collection, especially if they like symphonic or death metal—Septicflesh can’t really be beat in those departments. Skeptical? Check out the teaser trailer for The Great Mass below. If you’re already hip to these guys, props to you as you’ve clearly got great taste in metal. If you’re looking to spend some of your hard-earned cash on some Septicflesh music or gear, look no farther than the Season of Mist official e-shop.

Metal Monday: VOLA

Typically most of the Metal Monday content—whether it’s interviews, reviews, playlists, etc.—is primarily focused on the most metal of bands. Sometimes, however, a band comes along that’s so good it almost doesn’t matter just how “metal” they. Danish band VOLA falls right in line with this thought. They’ve got a few heavy jams, some not-so-heavy jams and all sorts of stuff in between. Having multiple Top 10 finishes in both metal and hard rock, as well as making it into the Best Of Top 20 for rock, it’s safe to say that VOLA know how to play hard.

It’s really difficult to find an accurate box to place VOLA into, even ones as broad as “rock” and “metal” because they don’t ever seem content to stick with one style. Take “Glasswork” for example: The first portion of the song is an ambient rock piece, and then about halfway through you can feel the heavy surging until you get some hard riffage for a couple of minutes as the song fades back to ambient rock. Their song “Golden Lighthouse Failure” is almost the exact opposite, starting off with a gnarly opening riff and moving through all sorts of different styles of rock and metal.

Even though their songs feature a wide array of styles and switches between said styles, they manage to avoid a disjunct sound and feel, even when the contrast between styles is stark and fast. It’s truly remarkable how well their transitions work, and lend themselves to lengthy songs—nearly all of the songs they’ve uploaded to OurStage are over five minutes, and a couple even reach the six minute mark.

VOLA recently added a new drummer to the band and are working on a new EP that will be recorded this summer, perhaps released this summer as well (though the update the band posted to YouTube didn’t really specify that). If you’re a fan of rock, metal, progressive and/or awesome, VOLA is a band you should definitely be aware of. Check out some of their fantastic tunes below:

Metal Monday: Mini Reviews Of June Releases

June was a pretty gigantic month for metal music, with upwards of twenty-five notable releases, some by pretty powerful players in the metal world in recent years.  Not everyone has the time and energy to check out all the big releases week to week and month to month, so I’m here to help you to stay on top of this busy time. Here’s a collection of mini reviews covering a bunch of June’s metal albums to help you figure out where to begin:

In FlamesSounds Of A Playground Fading

In Flames, one of the more famous names in the metal world, has seen their fair share of disappointment in recent years due to the flops that were A Sense Of Purpose and Soundtrack To Your Escape. Sounds Of A Playground Fading falls in line with those releases in terms of style, but is much less disappointing. Still not great, though.

Jungle RotKill On Command

If you’re a regular reader, then there’s a pretty good chance you already saw my full review of this album. Still, to sum it up: this is a straight-forward, stripped down metal album in time when they are few and far between. If you haven’t read the post yet, check out the in-depth version from a few weeks back.

Devin TownsendDeconstruction

Regarded by many as one of the most talented individuals in the metal world today, Devin Townsend rarely disappoints audiences with his music. And Deconstruction is no different. Though musically brilliant, it may take some people a bit of time to become accustomed to his odd themes, lyrics and humor. If you already know and love Devy, Deconstruction will absolutely make your day.

TombsPath Of Totality

Tombs’ second (sort of third) full-length album is definitely their best work to date, and quite possibly one of the best records of the year. Their signature mix of black and sludge metal meld flawlessly when taken to a new, extreme level. Fifty-eight minutes of pure metal awesomeness with not a single dull moment.

Morbid AngelIllud Divinum Insanus

I’m still not sure if Morbid Angel are just executing the biggest troll on the metal community or not, but there’s no denying that Illud Divinum Insanus is just plain not good. Trying out a new style of music, or trying to fuse new styles into a genre in which you’ve already proven your worth is admirable, but in this case it went horribly wrong. It’s not a good death metal album, it’s not a good electronic album, and it’s certainly not a good mix of styles. If you’re looking for electronic/metal combinations, maybe try “Self Vs. Self” by Pendulum and In Flames.

August Burns RedLeveler

August Burns Red’s fourth full length album sees the band departing even further from the somewhat standard brand of metalcore that propelled them to success. Leveler incorporates a litany of different musical styles, such as a nice flamenco guitar interlude, within their signature level of tightness and high energy.

Arch EnemyKhaos Legions

The extra time Arch Enemy took between albums, along with Michael Amott’s short stint reuniting with Carcass, clearly had a huge effect on the band. Khaos Legions is a bit of a departure from the band’s other recent works–and for the better. Each member’s best efforts focused into one album makes for a really solid listen.

Fit For An AutopsyThe Process Of Human Extermination

Every now and then a band tries to do something interesting with the currently played-out, generic deathcore sound without falling into the very well-defined box that deathcore has become. Fit For An Autopsy gets points for their effort, but there are still traces of the cookie-cutter style. A solid listen, though I’m not so sure that this is even close to the best the band can offer.

Job For A CowboyGloom

With every new release, Job For A Cowboy make a case for being one of the best pure death metal acts and Gloom is no different. As an EP, it’s only four songs, but each of those songs is remarkably well-executed and shows the band isn’t even close to done yet.

Limp BizkitGold Cobra

Calling Limp Bizkit a metal band that this point is really more of a joke than it is a serious claim, but this record is worth noting due to the fact that it perfectly sums up all of the music Limp Bizkit has made to date, except for their first (and best) album, 3 Dollar Bill Y’all. From the high energy tracks with angry raps to the somewhat ballad-like tunes, you get to hear a little bit of everything Limp Bizkit is known for.

Here’s a few other June metal releases that I’ve heard some good things about:

Symphony XIconoclast

From the looks of comments and ratings around the Internet, most people seem pretty pleased with this album. After 194 ratings on, Iconoclast sits at an 8.5/10 rating, which isn’t too shabby at all (but is lower than the respective ratings for each of the three albums prior to it). It would appear that Symphony X have put out yet another solid album.


Like Symphony X’s latest effort, most opinions of Entity seem to be very positive. It’s averaging an 8.4/10 after 57 votes, which is right on par with their last record. The only real complaints I’ve seen seem to be that some of the songs are quite short, and the album can get a bit lost in its overly-technical style at times.

AmorphisThe Beginning Of Times

The Beginning Of Times is the follow up to this Finnish monster band’s great 2009 album Skyforger, and by most accounts, is equally as good. Described by some as being a bit more melodically complex and reaching, Amorphis is not, historically, a formulaic type of band so overlooking a release is usually a folly.

June really turned out to be quite a climax in an already fantastic year in metal, and the releases keep rolling out. There are at least a few more albums coming out in 2011 that could very well dwarf the rest of the year’s releases (such as Revocation, Decapitated, Opeth, All Shall Perish, Skeletonwitch, etc.) but we’ll have to wait and see.

Any June metal releases you’re especially fond of that you think people should give a listen to? Post it in the comments section!

Metal Monday: Metal Album Remasters

If you never really listened to Megadeth or Atheist before the year 2004, there’s a fair chance that you’ve never really heard these bands as they originally sounded on their albums. Since 2000, both of these bands have undergone a serious remastering treatment (for better or worse). Capitol records released seven of the eight Megadeth records that started the band’s career—all of which sounded drastically different— though most would say the remasters were rubbish, falling prey to the loudness war like so many others.

Why exactly someone (or an entire group of people) felt the desire to remix and remaster those seven Megadeth albums is an odd question. The recordings didn’t sound all that bad before, but with that being said, they did sound a bit dated. Lots of mids, not a lot of high or low end and it wasn’t very loud (certainly not up to “modern standards”). Perhaps the decision was made from a marketing standpoint, as 2004 was the year Megadeth reformed after a two-year hiatus.

The first three Atheist records, however, didn’t sound very good at all. They were super dry, nothing really had room to breathe (even though the records were pretty quiet). Most of the albums featured a really flat EQ with almost no low end and only noise in the highs. Purists might disagree that the old albums sounded bad, but then again, purists usually do. When remastered, all the instruments were given room to breath and the records were equalized to sound more full.

Death is another band that desperately needed the remix and remaster treatment, and lately they’ve been getting it. While The Sound Of Perseverance was released this year, 2008 saw the remixing and remastering of the band’s previous six albums–all of which were drastically improved by the treatment (even though some would argue The Sound Of Perseverance didn’t need that treatment and, frankly, I agree).

Regardless of what you think about past remasters, and whether or not the changes were warranted, there’s not a thing that you can do to change the fact that they were done. With that said, you can have some input about what albums you think could seriously use the remaster treatment (even if it’ll fall on deaf ears), or state your claim about how some albums should never be remastered due to their classic nature. There are a handful of bands that have become incredibly famous, and even legendary in some respects, who have some less-than-ideal original recordings—recordings with loads of well written and performed material. Who are these bands? Well, here’s a few examples:

A Celebration of Guilt by Arsis
Focus by Cynic
Breeding The Spawn by Suffocation
Extreme Aggression by Kreator
Contradictions Collapse by Meshuggah
Follow The Blind by Blind Guardian
The Red Sky Is Ours by At The Gates
Morbid Visions by Sepultura
Every single Metal Church album

Now, what are some albums you’d love to hear properly remastered? Think that some of the suggested remasters above are sacred songs and shouldn’t be touched? Voice your opinions in the common section!

Metal Monday: Jungle Rot Kill On Command

Jungle Rot is a band that has been hanging out on the fringes of the death metal scene since the mid ’90s, making pure mosh death metal without really taking any time off. This year marks the group’s seventh full-length release—the first with Victory Records (previous labels include Napalm Records, Pure Death Recordings, Pavement Recordings, Crash Music and Olympic Records). Luckily, Jungle Rot delivers exactly what the metal world and Victory roster desperately need with Kill On Command.

No part of Kill On Command is groundbreaking, new or even really fresh—but that’s what makes it a really good listen. The band forgoes frills, experimentation and boundary pushing and sticks to what they know and love: thick riffs, brash vocals and no short supply of mosh sections. In a day and age where everyone is trying to one-up each other in terms of brutality, technicality, progressiveness and seemingly every other aspect of music, good ol’ fashioned death metal has sort of gone by the wayside (especially when you consider Morbid Angel’s latest album).

Jungle rot seems to understand that 1) there’s nothing wrong with the original death metal formula that emerged from Slayer’s style in the early ’90s, and 2) it never really gets old so long as you execute the style well. From Dave Matrise’s vocals to Geoff Bub’s guitar parts, they nail the classic death metal sound that metalheads know and love. There’s not a lot of guitar wankery on the album, but there are riffs galore. You won’t find a ton of breakdowns, but when you do they feel appropriate and don’t overstay their welcome.

Circle-pitters, headbangers and moshers around the globe rejoice, Jungle Rot has your back. Kill On Command is a thirty-seven minute moshing romp through the classic death metal sound, and a refreshing album amongst the rest of the ever-progressing metal realm. The album drops June 21st, so pick it up! In the meantime, you can join Jungle Rot’s OurStage fan club. You could even click the player below and check out some of their older tunes.

Metal Monday: Arch Enemy Q&A

Arch Enemy are no rookies to the melodic death metal scene. The Amott brothers and company have been around since the early ’90s, churning out solid metal album after solid metal album. It seems that their musical prowess might be approaching its climax, as Khaos Legions is their most prolific, varied and technical work to date. We got a chance to ask Michael Amott some questions regarding the new album, his guitar playing, influences and working with his brother. Check out what he had to say:

OS: Khaos Legions is a bit of a departure from Rise of the Tyrant. What sorts of ideas did you have coming into writing and recording it?

MA: We really had a “no rules” approach during the writing and pre-production phase of Khaos Legions. Arch Enemy has always encompassed a wide spectrum of influences. We have influences from thrash and death metal, but also classic metal/hard rock. The idea from the very beginning of the band was to blend heavy and extreme sounds with a lot of melody. I had so many guitar ideas for this album, it was just a matter of getting everything to fit together and make good songs out of all the riffs and melodies that we all had been writing and collecting over a four-year period. As you said, there are some new sounds on Khaos Legions— and I am really happy about that! We don’t want to become too predictable as band. We want to continuously progress, yet remain true to our “core sound”.

OS: The guitar work on Khaos Legions has a lot of variation, more so than usual. How much of this was a conscious effort?

MA: We always try to have a lot variety and exciting, quality guitar parts. I think on this new album everything just came together in a very cool way for whatever reason. In the writing and pre-production phase we could tell that we were more inspired than ever before, we had an absolute abundance of riffs and melodies to work with and we had a blast arranging the material.

OS: What sort of dynamic do you and Chris have when writing? How do you think it changes how you write, compared to when you were writing with Carcass or other bandmates?

MA: As Chris is my brother, we have played guitar together so much that we have a pretty non-verbal and very intuitive relationship when we write and arrange guitar parts and songs. I very much enjoy writing and recording with other players, but obviously it will always be special with Chris.

OS: The break between Rise of the Tyrant and Khaos Legions is the longest yet–how much of an effect do you think that had on how you approached Khaos Legions?

MA: Well, the riffs just kept piling up you know? We never stop writing really, we always jam and come up with new ideas backstage before a show or on the bus or in a hotel room. We’re always playing guitar! The longer break between albums meant we had more material to choose from and also Khaos Legions captures the bands sound over a longer time period (four years). I personally think this is obvious when I listen to the album and I hope the fans will appreciate the work that went into the creation of the music.

OS: There aren’t really any acts out there that share yours and Chris’ guitar style, primarily that found on the new album. Where do your primary influences come from?

MA: Our influences cover a wide spectrum of music styles and genres. Of course we have the Metal influences that you’d expect, but we listen to a lot of music that might seem like an odd fit for a band like us. As we all know, there’s only two kinds of music: good and bad! We are not afraid to play major key stuff for example—we try to paint with all colors that are available to us.

OS: Do you think taking the short break from writing/playing with Arch Enemy to do a few shows with Carcass have anything to do with the evolving sound of Arch Enemy?

MA: I think you are right—that had an impact on Khaos Legions. With Arch Enemy we had been in the album-tour-album-tour routine for so long, I think it was a good idea to break that and have a new fresh perspective on what we do with Arch Enemy.

OS: You’ve played/wrote a ton of albums at this point in your career, whether with Arch Enemy, Carcass, Carnage or guest spots. Which of these are most special to you, and why?

MA: That’s a tough question for me to answer, but I have to admit that the new Arch Enemy Khaos Legions strikes me as being one of those defining moments as I managed to get what’s in my head out and capture it perfectly. Other recordings I am proud of are Arch Enemy’s Wages Of Sin and Carcass’ Heartwork.

Do yourself a favor and check out Khaos Legions.  It’s hot off the presses via Century Media records—and it’s a really good album (especially if you love face-melting guitar solos and really good female vocalists). You can grab the album from iTunes, Amazon or your local record store (if those even exist near you anymore).


Exclusive Interviews
Featured Artists
OurStage Updates
Reviews and Playlists
Editors Pick