You are on page 1of 14

Metal Bulletin Zine #79

March 5, 2016 (no.1 in March)

Washington state, U.S.

tribute to Bill Bates (1962 2016), metal radio, Houston, Texas, U.S.


Megascavenger Holy Grail


Anger as Art

Eleventh Hour


concert calendar:


Skelator, Helloween, American Wrecking Company, Delain, Sonata Arctica, A Flourishing

Scourge, Ghostblood, Queensryche, Slayer, Testament, Carcass, Y & T, Zero Down, Bell Witch,
Lycus, Satan, and more (issues online, videos, )

Metal Bulletin Zine
P.O. Box 1339
Lake Stevens WA 98258
Metal Bulletin Zine
#21-26: (2009-2010): Texas
Washington state


(2006-2009): Wisconsin

All album reviews, news, updates below are

by MMB, unless stated otherwise.

Bill Bates

Dec. 15, 1962 Feb. 21, 2016

Wes, Wes and Bill, were said together as if

they were twins. These two metal personalities
have played a big role in turning people on to
new metal music, especially extreme metal.
Bill had not been well for a long time, and for
the recent period dj Herman Garca has kept
the show going. It is important that Herman
has stepped up to do the show.
Many people have said wonderful things
about Bill and it is impossible to put all those
comments together in one place. These are
some words that friends and musicians and
others have said about Bill:

(by MMB)
In the metal music scene in Houston, Texas dj
Bill Bates was loved by musicians, metal music
supporters and friends in general. Bill played
all types of metal music on the Sweet
Nightmares radio show on KPFT 90.1 FM,
including Texas bands and there are many
local Houston metal musicians whose songs Bill
Bills love of metal music and music in general
goes back a long time and he was practically
a walking library of knowledge. Bill was
obsessed with metal and other like-minded
people would recognize a kindred spirit in Bill,
who affectionately was called The Master,
which is a joke within the name Bill The
Master Bates. Bill was also very funny and
had lots of hilarious and embarrassing stories
about your favorite bands, Texas bands, and
himself. There is a reason why people
genuinely loved Bill and its because he was
kind. That is the Bill that many of us knew.
The older generation knew Bill through the
original metal music show Sweet Nightmares
that started in the 1980s and that was hosted
by Bill and his friend Wes Weaver. Wes (exImprecation, ex-Infernal Dominion) is the
guitarist for the death metal band
Blaspherian. For many, the names Bill and

Bill The Master Bates, Houston has lost one of

the undergrounds most influential radio
personal in music. Not only was Bill Bates a
radio personal that played some of the most
brutal music to ever get radio time by
anyone, he was also an energetic fan of the
sounds of the underground. I first had the
honor and pleasure of meeting Bill when I was
in my early 20's Ive always been a fan Of
what Bill Bates and Wes Weaver had
accomplished on 90.1 Kpft Sweet Nightmares.
What these guys did inspired me to be the
musician that I became by playing the music
that I wanted to hear instead of playing
commercial music that was not getting my
attention. Thanks Bill for being apart of the
Houston Metal Scene and never giving up on
the music. What you guys did up at KPFT was
establish a ground zero for all local metal
heads. Rest easy, and be at peace. \m/

Rivethead Magazine celebrates the life and

mourns the passing of our old friend Bill Bates.
Early RH staff writer and longtime host of the
KPFT "Sweet Nightmares" radio show, Bill was
and will always be a legendary icon to the
underground Houston scene. Here he writes
about Sweet Nightmares from RH Issue #8,
June of 1989. Thanks for everything you ever
did, brother. Someone should read the last
paragraph of this at your funeral.
Last night was kind of tough. We played some
of Bill's favorite bands including deadhorse,
Helstar and Trouble. We talked about some of
memories of Bill Bates and then what blew me
away was Bill's mom calling to thank us for
doing the show and to say she was still in awe
of how important her son was to the
community. Important indeed. No one can fit
in those shoes. But we will keep going at it and
I hope all of you continue to tune in. \m/ \m/
One thing a lot of us agreed. Bill Bates must
have sensed this time was coming. He was
going to shows, he set up shows and he made
it to the radio station. It was almost like he was
saying his goodbye as he made his final tour.
He touched so many but he was trying real
hard to show people no matter what you are
suffering, you still need to make time for
friends, family and most important do what
you can to help your friends in the metal
community stay strong. This last week I am
seeing so many people stand united in their
love for Bill. For that say thank you. He would
want you all to know that. So tomorrow one
more tough day to say our goodbyes. Then
we can continue to share our memories of
him. He may have passed, but he will never
be forgotten.

Just got back from the Bill Bates viewing, he

looked really good. I had to say a last
goodbye since i missed him after his
departure from the hospital. Was really sad,
but they had him in his sweet nightmares tshirt, and an astros jacket, kinda fitting with
how much he loved the radio show and the
astros, well sports in general....Good bye old
friend, i'll see you on the other side some time.
baby...remembering the old school days and
thinking of all the crazy times with Bill Bates I
remembered this video, shot by Sean Sitka,
from Vinnie Labella's house (EXHORDER), in
1990 in New Orleans....with bills physical
problems,i think the exhorder guys thought it a
little funny so Vinnie wrote 'side actions blues'
some good natured ribbing and Bill makes his
appearance at the 5:25 mark unphased and
having a great time...always laughing....

Rubn Elizondo:
I was deeply saddened to hear the news on
Bill's passing. He played a huge part in the
Houston Metal Scene. He did so much for
many people, including myself. In the late 80s

he managed Dark Reign. In 1990 Bill got us on

the whole Texas Tour with Morbid Angel. By
1991 he got us two dates with Death here in
Houston and New Orleans. He supported
many bands in Houston by giving them air
play, as well as setting up shows. Bill even
handled all of the paper work to purchase my
house for me and my wife. Thank you for your
30 year friendship Bill, I was honored to get the
chance to know you. There will never be
another Bill Bates. R.I.P.
Andrew Apollyon:
I hope I'm able to perform the Bill Bates tribute
show with my old band Hideously Defleshed. It
would be an honour to pay tribute and
support a true Houston legend. Bill Bates was
a true gentlemen and class act. He always
supported hideously defleshed as you can
see from the pic below and played our music
on k.p.f.t TheEjacula SweetNightmares often. If
we are unable to perform the show due to the
fact I'm leaving to the Middle East soon and
my job may not allow me to take time off from
work at the last moment for the show I will
make sure we will donate a nice amount of
funds to his benefit. Thank you Mr. Bill Bates we
Jerry Warden:
Bill Bates was on the air at KPFT in Houston
when I hosted The Metal Show on KNON in
Dallas from '86-'89 and he continued to host
Sweet Nightmares into 2016. I knew him as a
fellow promoter of metal at a time when
community radio was the only source for
metal music. Later, I was a fan as I listened to
him in S.Texas penitentiaries. Upon my return
home, I reacquainted myself w/ Bill and
conveyed my respect for his longevity on the
air. He asked my band, WarlockTexas, to open
for Satan as the direct support band at
Numbers in Houston and asked me more than
once to attend his last show featuring
Insecticide, a band we both played on the air

and hosted in the '80s. I wish I would've

attended your last show, Bill, bc I have the
utmost respect for u. U are The fuckin' Master...
Joshua James Merritt:
Bill Bates, family and friends. I want to
apologize for not coming to the service
today... I simply cannot do viewings
anymore... I want my last visual memory of
him to be that happy smile of his sitting on the
side of the Fitz stage watching Venom Inc, not
of him in a casket... my eyes are watering up
just typing this.... and for the record, when I
depart, NO VIEWING, please. I will have words
for our fallen comrade tonight on my radio
show. Bill, we love you and we are all missing
you dearly.
Dobber Beverly:
A preshow shot for Bill Bates tonight. A tie that
has been the bind for so many of us since we
were kids jamming 90.1. Being able to turn
that radio on and jam with pals you know and
friends you didn't know yet. I wouldn't know
half the people I know now if it wasn't for Bill
and he was a hell of a dude. Rest in peace
my friend and see you cats tomorrow!
Richard Cagle:
Voices came out in 1990... It was a collection
of Metal Bands from around the region that I
put out on Saturn Records... It was well
received in Europe and helped promote the
Texas/Louisiana metal scene... Joe Claytor
(Band Manager/Local Promoter) and Bill Bates
(Sweet Nightmares, KPFT Radio DJ), both
helped me put this together... without them, I
doubt it would have gotten done or been as
successful as it was at the time. With the
passing of Bill this week, I've been reflecting on
how both Joe and Bill helped and influenced
the whole Metal scene in the 90s. They will
both be missed... I thank them for all that they
did.. Rest in Peace my friends....

John Fossum:
Extremely sad to hear of the passing of Bill
Bates. A dedicated, passionate music scene
pioneer, promoter, fan and friend. When I
moved to the Houston area in 1984, Bill was
one of the first people I met. I listened
religiously to the "Sweet Nightmares" radio
show on KPFT that he and Wes Weaver made
into a Metal program staple. I'm glad to have
known him. It was a true honour. I have no
doubt that he is yucking it up with Lemmy
right now. Rest in peace, brotherman.
March 20th at the Scout Bar. Doors at 1pm.
The death of Bill Bates is a blow to the metal
community of Houston. So some people have
gotten together to show their respects and to
show that Bill "The Master" will not be
forgotten. A fitting tribute is quickly being
assembled and a great way to give back to a
person that meant so much to the music of
Houston. There will be music, a raffle and
some special items to auction. So when you
come bring your money. You will want to take
some of these items home at the end of the

Thursday night 11pm-2am (Houston time)

KPFT 90.1 fm

Dominion Of Misery
label: Unique Leader
release: 26 February 2016
Years ago this publication received the
band's first EP simply titled "Omnihility" (2010),
which was a very impressive early work
showing the high level of commitment to
playing technical brutal death metal. As the
years have passed the band continues on
chosen the path, taking the sound in slightly
different directions while staying close to the
promise that they made with said EP. Three
albums in, I feel like they are really getting
more comfortable, more secure in their craft.
The music still is blazing fast blasting mania like
there's no tomorrow, but the band sounds less
afraid, less concerned with the goal of being
the fastest, most brutal band that has ever
existed. They play metal at warp speed, but
earlier in the history of the band you would
have been forgiven for thinking that Omnihility
wanted to beat up Origin and take their lunch
Now the band is showing that they write songs
that are a bit easier to understand. You don't
have to have an advanced degree from the
University of Technical Metal to get the songs.
It's not easy being Omnihility. You can play
fast and do all that tech-metal 24/7, but can
you write songs that people can remember?
Even though Omnihility has not changed its
style, there is--dare I say it?!--a vibe that the
songs can be assimilated more easily.

Sweet Nightmares (Houston, TX):


score. The vocals kind of appear as another

form of percussion, not as the centerpiece of
the band as it is in more traditional forms of
Many people seem to consider Origin the
kings of this style, and I am not here to get into
arguments about those issues. However, there
are other bands that are working hard at
making recordings that reflect a serious
commitment, a desire to do recordings that
can go toe to toe with the top dogs of the
genre. Omnihility is a fine, fine example of the
some of the best that this genre has to offer to
into the more serious forms of
extremity and dexterity in this particular craft.
I would tell you this. I know that the terms
"tech-metal" often means bands trying to
combine jazz with metal, emo with metal,
core with metal and other combinations that
some headbangers really hate. This band is
not anything like that. It's real metal, intense,
skillfully-played blasting metal. The first listen
will sound eye-blindingly fast, as usual, but
repeated listens will show some segments of
catchier riffs, a bit of melody, some moments
of breathing room, and other traits that
demonstrate that the band means business,
that they are aware that the objective is to
have good songs. Showmanship is great and
all, but I want songs, too.
The album sounds professional and clear. I
feel like the album sounds like a rather
accurate picture of what the band can do,
that they can play this material live and pull it
off. It's not a messy recording with all types of
samples, spoken parts, robotic voices,
industrial tomfoolery and other nonsense. Of
course, the vocals are low and gruff, and
there is not much in the way of variety on that


As Dystopia Beckons
Selfmadegod Records
release: 1 March 2016
"Calling out the Rogga junkies
Are you ready for a new Rogga beat
Rogga's here and the time is now
For moshing in the street
They're moshing in Stockholm
Down in Gamleby
Up in Gothenburg
All we need is Rogga, sick Rogga
There'll be moshing everywhere
There'll be necks hurting, elbow swinging
Moshing in the street"
Roggas back and its time to get nasty, so
expression of the death metal riff assembly
line factory known by the human name of

Rogga Johanssonwho has been certified by

the Swedish Deviants and Street Hustlers
Association of Sweden as a Swedish national
treasure of the people of Sweden for his
contribution and dedication to old school
death metala man responsible for about
53.7777% of metal music from Sweden since
2000: Down Among the Dead Men, Echelon,
Paganizer, Putrevore, Revolting, Ribspreader,
The Grotesquery, ex-Bloodgut, ex-Carve, exDead Sun, ex-Demiurg, ex-Foreboding, exHumanity Delete, ex-Severed Limbs, exSwarming, ex-Terminal Grip, ex-Those Who
Bring the Torture, Eaten (Swe), ex-Banished
from Inferno, ex-Fondlecorpse, ex-Graveyard
After Graveyard, ex-Sinners Burn, ex-Soulburn,
ex-The 11th Hour, ex-Deranged (live), ex-Bone
Gnawer, ex-To the Gallows. Oh, is that all
now? Really?! Bite me.
Here we are again, like clockwork, with
another Rogga Johansson album. You know
that its going to be death metal, old-time
riffy, groovy sounds. Or, is it? Well, well, well,
what do have here? Its not the same old
song and dance this time! Megascavenger
has a few surprises, a few robotic-industrialfuturistic-hellish
programming and robotic/industrial sounds in
the background are there to give you that
feeling of The Terminator or Robocop or I,
Robot, to go along with the overall theme of
the album. Its not a pleasant future that
awaits, according to Rogga.
Rogga has enlisted a whole troop of vocalists:
Megascavenger are known for having big
names guesting on their albums and the latest
one is no different. Their new album, 'As
Dystopia Beckons', released on Selfmadegod
Records, again features a star-studded line up
with band members of Hail of Bullets, exMassacre, ex-Mantas, ex-Benediction, ex-Bolt
Thrower, Echelon, Fleshcrawl, Entrails, Sinister,
Crypticus and others playing an important

role in forming the sound of this band. This

album has a nice little range of variety,
actually. Its more than the vocals changing
for each song. The music sounds a little bit
different, too. As the Last Day Has Passed,
for instance, shows Megascavenger stepping
into 90s melodic death metal territory. The
guitar work on this song answers what some
people have wanted to know about Rogga:
Does he do only heavy/brutal guitar work?
Can he do other sounds? Here you have your
answer. Apparently, if he wanted, he could
make the songs very melodic, but homie
dont play that. Not for long. Then there is
The Hell that Is This World (Dont you just love
those positive-thinking song titles?): this song
dives right into industrial territory, with
monstrous vocals and robotic sounds. Did you
know that Rogga can do that, too? Word.
At this point, you might be thinking of calling
911 or your therapist because you are thinking
that Rogga has finally gone off the deep end.
These songs still sound heavy, thick as a brick,
and pretty sick. Most of the songs still sound
like heavy/brutal death metal. On the other
hand, yes, its true, this is a bit more
experimental or catchier than expected. I
think I was surprised a bit and I think Rogga
junkies might be at first, but once you listen to
the whole album, its not the end of the world,
just Rogga changing things up a bit, and
getting restless and crazy.
You think you know Rogga? Are you ready for
this jamming? Well, lets find out!

Holy Grail
Times of Pride and Peril
Prosthetic Records
Release: 12 February 2016
Recently, this band appears to be making
some headway in the vicious jungle world of
the music business, getting their name out
there and some coverage in the press. They
kind of stand out, too, don't they?: a younger
band from California playing traditional heavy
metal, amongst all that fat-angry-beargrowling-screaming metal and all those 80s
L.A. has-beens still hanging around because
they have run of out money for certain illicit
substances. Holy Grail is not glam and they
are not extreme metal, they are traditional
heavy metal with singing and lots of shredding
and hooks. Hey, sounds like a good idea, to
They have been dedicated to traditional
heavy metal for years now. In fact, Metal
Archives shows that the first recording is from
2009. Ever since then they have always found
people who enjoy their particular style and
there are more than a few reviews on the
internet that show that they are impressing
new people with each new recording. This
2016 album is the third album and follows the
2013 album "Ride the Void," a work that has
an average of 90/100 at Metal Archives. That
is not a bad score at all, and assuming the
reviews are not written by the band
themselves under fake names (or by the
band's parents or friends), it means that some
people are catching on to what this band

The new album is a further consolidation of

the catchy tunes that they are becoming
known for. Time after time when I have
listened, I notice that the songs work well, they
flow, are ear friendly in the way classic-style
heavy metal can be. They have hit-type songs
with lots of melody; very easy to remember.
Some of the numbers sound thrashier, some
more melodic, others like stadium rock
anthems, and a few surprises here and there,
while the band puts the singing and the guitar
playing at the center. As with most traditional
metal with singing, it is necessary that you
listen for yourself and hear if you like the voice.
There are lots of high notes on the album, so
high vocal sections are a real part of the
songwriting in this case. Overall, the band has
done a solid job and you can tell that they
want to have songs that people can relate to
and sing with the band. Heck, that's not a
crime nowadays, is it? They are serious about
the band and they want to win you over, so
there's nothing wrong with that at all.
Here's your chance to hear a new band that
some people are noticing for their ability to
write good heavy metal songs in the
traditional way. How about giving a chance

to these California musicians doing their best

to work for the glory of their art?
Listen to the complete album at the link

songs with a bass solo, a keyboard solo, a

flute solo, another bass solo, and a tuba solo.
There is only type of solo: guitars and
guitar/keyboard trade offs.

Eleventh Hour (Italy)

Memory Of A Lifetime Journey
label: Bakerteam Records
release: 20 January 2016
When a melodic/prog metal band has a
singer like this band does, it is easier for more
people to like it because a good singing
voice helps people to understand what a
band is doing. A strong voice for
melodic/power/prog metal can win the
listener over because a voice that is pleasant
to the ear has the power to convince. Now, if
the band happens to have good songs and
the chemistry to make good music, then they
can really roll with it. This band right here has
all those things and they are easy, I tell you,
easy to approach and the music is very
balanced: the songs are made for the
people, not to try to impress snobby
musicians. This is music to sing along, friendly
enough for radio, pleasant for your non-metal
friends, catchy for repeated playing. In other
words, this is contemporary adult-oriented
metal. Call it parents metal. Call it melodic
metal. Rocking songs, mellow songs, power
ballads, love songs, happy songs, sad songs,
it's all here, and it's good. This the kind of prog
metal the average listener can get on board
with because it's song-centered, melodic
music. The tracks stay with the 4-6 minute
range, and there is none of those super long

Quality and professionalism describe this band

very well. They have the confidence to do it
all and they have thrown caution to the wind.
They do many things right and they have a
good variety of songs. Moreover, they show
great restraint by not writing long, boring
songs. The songs have a chorus and they get
to the point and they stay on point. That's a
very positive trait. I also like the album
because the band avoids several problems
that other prog metal bands like to do. For
instance, this band generally avoids "groove
guitar." I really dislike "prog" bands that don't
do riffs, and that instead do simple "grooves"
that sound "prog," but really there's very little
guitar creativity in those grooves. I recently
heard a song by a major international act of
prog metal and I was so unimpressed with the
groove sound. I guess not many people find it
annoying, but I do. Where is the riff? If there is
no riff, then I am not interested. Well, this band
right here generally avoids the groove sound

and that's a good thing. I have also noticed

that many prog bands have gotten into the
habit of sounding so emo and post-rock-ish
and I guess people are loving it, eh? Eleventh
Hour has a real singer and he sounds like an
adult singing and it sounds real, not like some
silly hipster crooning doing that whole postpunk stuff that sounds so emo.
The voice is one of those that works that
pleasant midrange for the compact lines and
a slightly higher tone for the longer lines and
choruses, and it sounds very nice to the ear.
The voice has no irritating characteristics. The
guitar goes from neoclassical parts to semithrashy segments to heavier rhythms to some
slower melodic parts. This is all great and all, of
course, but it's only in the context of the songs
and the album as a whole that it all makes
sense, and make sense it does. On a song like
"Jerusalem" the guitar has bits where it sounds
like it is singing. On the other hand, "Back to
You" sounds like a love song because it is one,
and the guitar really sings in a bluesy-metal
way, and the symphonic background parts
seek to transport you to a different state of
mind, and the singing really shines. The mood
switches around like that, so that "After All
We've Been Missing" keeps the tempo up in a
rocking way, and probably is a closer
representation of the majority of the songs.
Alright, that's it. I have to finish this review now.
If this band sounds like a style you favor, don't
pass them up. I'm glad I did not.
Eleventh Hour was born in 2014 out of guitarist
Aldo Turini's need to express some musical
ideas that have been kept in a drawer for
years. Aldo arranged all the songs and wrote
the orchestral parts with Giuseppe Carella,
whose background was so distant from
Symphonic Metal that the final result was very
peculiar and musically challenging. In

November 2014 the band's line-up had finally

been confirmed and included Alessandro Del
Vecchio (Hardline, Revolution Saints, Edge Of
Forever) on vocals, who also co-wrote most of
the songs with Aldo and Giuseppe, Luca
Mazzucconi (N.F.D, Lahannya) on drums,
GianMaria "Black Jin" Godani on bass and
Alberto Sonzogni (The Black Phoenix,
Timesword) on keyboards. Drums, bass and
acoustic guitars were recorded in Parma at
Real Sound Studios, electric guitars at Michele
Quaini's O.U.T. Side Studio and vocals
(including soprano Susanna Carboni for
'Sleeping In My Dreams' and 'Here Alone') at
Alessandro Del Vecchio's Ivorytears Music
Works Studios. Alessandro Del Vecchio, a
international musicians, mixed and mastered
the album, perfectly balancing it between
the powerful approach of the band as a
whole and the melodic and cinematographic
orchestral flavor of the compositions.

The Unholy Oath
label: independent
release: January 22, 2016
Widower is a black thrash band from Texas,
U.S. According to Metal Archives they began
in 2011 and they have four releases, including
this new EP. At Bandcamp you can hear the
complete recording.

Anger as Art
Ad Mortem Festinates
label: Old School Metal Records
release: 11 March 2016

"The Blackened- Thrash Metal quartet

WIDOWER has just completed production of
their sophomore effort, "The Unholy Oath",
following two years of intensive writing and
touring. Featuring a healthy dose of highenergy, double-bass-laden rifferama that is as
relentless as it is consistent. Breathing new life
into Metal with this release, a non-stop lesson
in violence and brutality. That, every once in a
while, for no reason, punches you in the face,
and then throws you against the wall. The
album was tracked at Diamond Factory
Recording Studio by Travis Bonner, and
edited, mixed and mastered by Ryan Butler at
Arcane Digital. Cover art by Andrei Bouzikov."


"Veteran L.A. Thrashers ANGER AS ART will

release their new album Ad Mortem
Festinamus March 11 on Old School Metal
Records. On the highly anticipated follow-up
to 2013 barnstormer Hubris, Inc. the quartet
has done the improbable by creating a
roaring thrash metal beast that doesnt just
raise the bar; it crushes it into dust. Recorded,
produced, mixed, and mastered by Ronald
Sandoval at Rev Studios, Chino CA, Ad
Mortem Festinamus (Latin translation: We Hurry
into Death) is everything youve come to
expect from ANGER AS ARTand more!
Speeding recklessness, lacerating solos, and a
shrapnel storm of riffs combine to make what
will undoubtedly be considered one of 2016s
fiercest forays into Thrash Metal Armageddon.
Ad Mortem Festinamusis venomous, angry
thrash/speed/death metal. If you feel that no
one hears your voice and you're pissed about
it, then this is the album for youbecause
everyone is angry, and ANGER is beautiful!

Line-up: Rob Alaniz Drums, Vocal; Eric Bryan

Vocals, Bass; Steve Gaines Vocals, Guitar,
Keys; Dan Oliverio Guitar, Vocal; Additional
Musicians Greg Johnson Organ.
You may read a number of bios where bands
will extol their virtues of being the next big
thing, as important as Led Zeppelin, inventor
of the wheel. ANGER AS ART doesnt do that.
They dont need to. To know what ANGER AS
ART is, one can look at what they have been
since 2004. A first rate, old school thrash metal
band rooted in the history created by the
members of the band. Take one look at their
lineage members of Abattoir, Evil Dead,
Bloodlust, Hirax, Reverend, Bitch and know
where they are going. Two World Tours, shows
with Destruction, Overkill, Testament, Death
Angel, Exodus, Saxon, Agent Steel, ex- Maiden
vocalists Bayley and DiAnno, Tankard,
Onslaught, Katatonia and many more."

free metal from Brazil: Carbonizer

at all. The band has made the recording

available for free. Thrashers are hereby called
to congregate.

1.Nuclear Moon 04:41

2.Walls To Maniacs 04:50
3.Spiritual War 03:25
4.The Light of Judgment 04:39
total time 17:35

Carbonizer (Brazil)
Nuclear Moon
release date: January 6th, 2016
label: independent

Advent of The Human God
label: Season of Mist
release: 25 March 2016

If you want thrash, you've got it. The guitar

tone, the riffs, the sound, the feel, it's all thrash
all the time. There is no mystery about the
objective of this band, it's thrash until the
necks are sore and the moshers feel the pain
in the morning. In the space of four songs the
band manages to show that they have
studied the sounds of thrash and have
learned from it and are ready to bring their
own thrash to the people. There's nothing
wrong with thrash, nothing wrong with thrash

The long-running extreme metal band

Necronomicon has a new album, a
symphonic blasting death metal work that
continues the sound for which the Canadians
are known. Expect a professional album with
a seriousness of purpose and hard work for
supporters of modern extreme/black/death
metal. The band has been around for long
time and they know how to make a strong
album that will compete with other albums in
the genre of symphonic extreme metal. Below


you will find some official information about

the band. Go to the bands Facebook page
for the new video to satisfy the curious minds
that want to hear for themselves.

"Rising from the 90s 'The Canadian Occult

Legend (BWBK)' have sailed against all storms
and wars to conquer all countries they landed
under heaven and earth. It is not without
difficulties that the pioneers of the dark genre
nevertheless, their faith and strong belief in the
bands message has succeeded to overcome
the worst and beyond. Since the beginning of
the new millennium, the cult of the Book of
the Dead keeps spreading around the world,
taking the fans by surprise like a disease.
Renowned for its live presence and intensity,
the Occultist trinity aims for nothing less than
reaching every area of the living world, doing
what they do best - rocking the stage.
The 'Pharaoh of Gods' album became a
classic a few years after its release. Now
considered to be too advanced for is time,
mixing brutal dark metal with almost new
age ambiances. As for Return of the Witch,
which became the first worldwide release,
bringing the band to tour the Old continent
for the first time.

Previous releases are not to be forgotten,

starting with the 'Morbid Ritual' demo, which
was nationally acclaimed. 'The Silver Key' EP
gained attention from labels in the US and
overseas, especially with the title track song.
Last but not least, the extremely tribal 'The
Sacred Medicines': an American Native
concept featuring 'Red Bull' singers from
Western Canadas Cree Nation on the title
Necronomicon originally comes from the
deep northern part of the Canadian province
of Quebec, called the 'Fjord of Saguenay'.
The band later relocated in the city on
Montreal, now well known for the quality of is
metal scene, to ensure a more prosperous
future for the band Something that
wouldve been impossible in their remote
Nordic home region.
Since the beginning, the band always
blended in mixing ambiances with extreme
metal, along with atmospheric passages using
narration and angelic female voices, exotic
Although every album has its own theme, it is
also part of the grand concept of the band
Their hard work and renowned growth
brought them to share the stage and tour with
several well established bands such as Cradle
of Filth, Dimmu Borgir, Behemoth, Morbid
Angel, to name a few, as well as invitations to
well renowned festivals such as Inferno
(Norway), Heavy MTL (Canada), Ragnarok
(Germany), the Barge to Hell metal cruise and
Stopping at nothing, the Eternal trio led by the
Dark One, Rob The Witch, is now working
with the well-established record label Season
of Mist ..."

concert calendar
Seattle region concert calendar by Metal
Bulletin Zine (Washington state). If you know of
other metal concerts in the area, please get
in contact with Metal Bulletin Zine.
March 6 Helloween at The Showbox
March 6 American Wrecking Company at
Funhouse - Seattle, WA
March 7 Delain, Sonata Arctica, Nightwish at
Showbox SoDo
March 11 A Flourishing Scourge, Ghostblood
at Studio Seven - Seattle, WA
March 18 Geoff Tate at The Neptune Theatre,
Seattle, WA
March 19 Queensryche at Snoqualmie Casino
Showroom - Snoqualmie, WA
March 19 Slayer, Testament, Carcass at
Paramount Theater - Seattle
March 24 Y & T, Zero Down at Studio Seven,
Seattle, WA
March 25 Lycus at Highline, Seattle, WA
March 26 Bell Witch at Highline, Seattle, WA
March 27 Lycus at Obsidian - Olympia, WA
March 28 Satan, Skelator at Highline, Seattle,
April 1 Decibel Magazinel Tour ABBATH, High
On Fire, Tribulation, Skeletonwitch at El
Corazn - Seattle, WA
April 11 Absu, Thantifaxath at Highline, Seattle,
April 11 Iron Maiden at Tacoma Dome
April 14 Iron Kingdom, Skelator, Substratum at
The Kraken Bar and lounge - Seattle, WA
April 18 Malevolent Creation, Pyrexia at Studio
Seven - Seattle, WA
April 23 D.R.I. at El Corazn, Seattle WA
April 25 Sarcalogos at Substation, Seattle, WA
April 30 Fear Factory, Soilwork at El Corazn Seattle, WA

May 1 Napalm Death at The Showbox Seattle, WA

May 08 Primal Fear, Luca Turilli's Rhapsody at El
Corazn - Seattle, WA
May 14 The Drip at Highline - Seattle, WA
May 15 Soulfly, Suffocation, Battlecross,
Abnormality at Studio Seven, Seattle, WA
May 17 Amon Amarth, Entombed AD,
Exmortus at Showbox Market - Seattle, WA
June 5 Iron Kingdom at Tony V's Garage in
Everett, WA
June 14 American Wrecking Company at
Studio Seven - Seattle, WA
June 17 Perdition Temple, Sempiternal Dusk at
Highline, Seattle, WA
August 12, 13, 24 MIGRATION FESTIVAL at the
Capitol Theater in downtown Olympia, WA
AUROCH, THE BODY & KRIEG collaborative

metal programs (these are Pacific Times)

Mosh Pit (Madison, WI): Monday night 9:30pm12am WORT 89.9 fm
Sweet Nightmares (Houston, TX): Thursday
night 9pm-12am KPFT 90.1 fm
Excuse All the Blood (Olympia, WA): Friday
night 11pm-1am
Metal Shop (Seattle, WA): Saturday 11pm3am KISW 99.9fm

This zine is available at: