CALIBAN
Genre: Metal
Essen


Both originally hailing from the Ruhr Area, the largest agglomeration in Germany, modern metal force CALIBAN and Century Media Records are finally worldwide partners in crime after being neighbours for years and already co-operating for CALIBAN's last album "The Awakening" for North America. After Heaven Shall Burn and Maroon Century Media Records is delighted to welcome CALIBAN and hence being a home for the trinity of German modern metal.

CALIBAN's new album "Say Hello To Tragedy" marks a fantastic start for this new global partnership and impressively unites an aggressive, ferocious metal punch with emotive melodies and choruses. Through the course of the record you can discover thrashing viciousness, blasting speed and crushing breaks as well as harmonic clean vocals resulting in an opus rich in contrast and diversity. Songs like the murderous opener "24 Years", "Caliban's Revenge" or "No One Is Safe" prove that CALIBAN have developed into an unrivalled modern metal beast captivating the listener with raging heaviness and catchy melodies to equal terms. The album's concept deals with the question which tragedies happen nowadays or could have been prevented, if people would just open their eyes and at least care a bit about their neighbours, relatives and the world in general. Some songs are entirely fictional whereas other ones refer to real life dramas like the Fritzl case.

"Say Hello To Tragedy" was produced by Benny Richter, co-produced by guitarist Marc Goertz and mixed by Killswitch Engage guitarist Adam D - the same team directing the previous "The Awakening" that hit the German Media Control Charts on #36.

Formed in 1997, CALIBAN is one of the few German bands who managed to build up an international status in recent years. In North America they toured with labelmates God Forbid, The Red Chord, I Killed The Prom Queen and many more and also stopped at North American Festivals such as Hellfest (Syracuse) and New England Metal and Hardcore Festival. They toured Japan with Killswitch Engage and Shadows Fall, played the Beast Feast as well as visited Indonesia, Malaysia and last, but not least Australia as part of the Gigantour with Megadeth, Soulfly and Arch Enemy. Apart from several headline runs they were part of numerous European tours with bands such as In Flames and Devil Driver, Machine Head or Kreator. Also, it doesn't come as a surprise that you could watch CALIBAN on countless European festivals such as With Full Force Festival (D), Graspop Metal Meeting (B), Summerbreeze (D), Rock am Ring/Rock im Park (D), Wacken Open Air (D) as well as the prestigious Nova Rock (A) and Download Festival (UK). Recently they supported Machine Head and their acquaintances Killswitch Engage on selected shows.

To present their brand-new album "Say Hello To Tragedy" live, CALIBAN will play at several festivals this summer and are confirmed to headline the Beastfest European tour 2009 with labelmates Suicide Silence and Maroon as well as Emmure and After The Burial in October/November 2009.

Line-Up
Andreas Doerner - vocals
Marc Goertz - guitar
Patrick Gruen - drums
Denis Schmidt - guitar & vocals
Marco Schaller - bass
 https://www.facebook.com/CalibanOfficial/info

 

KREATOR

Genre : Thrash Metal


sumber : http://www.kreator-terrorzone.de
http://www.kreator-terrorshop.com
http://kreatorofficial.tumblr.com
http://www.facebook.com/KreatorOfficial
http://www.facebook.com/kreatorterrorshop
http://www.twitter.com/kreator
http://www.youtube.com/user/kreatorofficial


Indonesia's most popular songs

Arch Enemy biography 2014
By Chris Dick
Writer: Decibel Magazine

“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says Arch Enemy founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect Arch Enemy song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”

And he did. Over the course of 19 years, Arch Enemy, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor Arch Enemy are done. Not by a long shot.

With guitarist Nick Cordle and vocalist Alissa White-Gluz replacing Amott’s younger brother Christopher and long-time frontwoman Angela Gossow in 2012 and 2014 respectively, War Eternal is Arch Enemy reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the Arch Enemy camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa and Nick have certainly brought a lot of talent and enthusiasm to the band!”

In Cordle, Amott has a quick-fingered, high-energy sideman. A guitarist he can trade wicked licks, sick riffs, and wild solos with. Cordle’s first appearance in Arch Enemy was on the “Under Black Flags We March” video (from 2011’s Khaos Legions). War Eternal marks the ex-Arsis six-stringer’s full-length debut. “Nick was my first choice as he ticks all the right boxes for Arch Enemy with his musicality and technicality as well as his personality and dedication.”

When Amott recruited Angela Gossow to front Arch Enemy for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a vertiable firebrand on War Eternal, her unrelenting roar, cruel rasp, and unique looks the mark of a woman ready to conquer the world. “My goal is to keep Arch Enemy alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for Arch Enemy, powerful and diverse, all the while respecting the legions of fans that love traditional Arch Enemy. Fans can expect loads of pure fucking metal.”

At 13 tracks, War Eternal is the quintessential Arch Enemy album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title track. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of Arch Enemy play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”

Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true Arch Enemy sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”

Expect Arch Enemy to wage war throughout 2014 in support of War Eternal. Remember, change is inevitable. War is eternal!
Sumber : www.twitter.com/archenemymetal 
http://www.archenemy.net 
https://www.facebook.com/archenemyofficial/info
Amazon Mp3: http://smarturl.it/wareternalAMAZONMP3
iTunes: http://smarturl.it/wareternalITUNES

Order now! www.archenemy.net

 

There are metal bands and then there is Lamb of God.

A new breed of modern American metal was erected in the 2000s, with Lamb of God serving as an architect, designing the blueprint that would become the standard by which bands that came after them would be judged. So often, the European metal scene has set the tone and established the creative high watermark of the global metal scene, providing the template that their American brethren would follow. Then Lamb of God came along and all bets were off.

It was Lamb of God who rewrote the rules, devised a new playbook and raised the standard. The genre was forever and irrefutably changed by what the band has done.

By the mid-00s, there was a full metal Renaissance, if you will, in America, with the genre enjoying several years of renewed success and critical respect. Lamb of God worked to establish themselves without question as the scene's alpha males, dominating at every turn, leaving a parade of other acts to merely feast on their leftovers and scraps. Mind you, this was not a scene, style or era populated by middling acts. The era was filled quality bands and still, it was Lamb of God who defined the time period and that quickly ascended as the game changers and torch bearers. No. Questions. Asked.

Turns out, they've merely nicked the surface of what they can do and plan on accomplishing.

In 2012, Lamb of God remain the pre-eminent metal band and not by default, either. The scene is still healthy, even if some of the peers who stood shoulder-to-shoulder with them during that period of growth have fallen by the wayside. Lamb of God still reign atop of the genre thanks to their consistent ability to feed fans with only the best extreme metal there is. Their seventh album Resolution finds the band firing on all cylinders and doing things their way. As if we'd expect anything less from this Virginia wrecking crew.

With a rich history including three Grammy nominations, an invitation to tour with Metallica (which they did in 2008 through 2010 on the World Magnetic trek); multiple debuts in the Top 10 on the Billboard Top 200 (2009's Wrath debuted at No. 2 while 2006's Sacrament debuted at No. 8); multiple Platinum-selling DVDs (Killadelphia and Walk With Me in Hell); an arena tour with Slipknot (which took place in 2005); the main stage of OZZfest (2006) and wearing the fact that they were banned in Los Angeles (the Forum had a problem with their name and booted them off the bill of two shows, one with Slipknot and one with Metallica) as a badge of honor, there's no question that Lamb of God rule the metal roost. Everyone else is left to watch and marvel, and choke on their dust. However, they're not resting on past successes or what they've done. For Lamb of God, what happened in 2002 happened in 2002. It's about the right now and what's next: Resolution.

With Resolution, Lamb of God emerged from their haven in the South as powerful, as hungry and as extreme as ever. While most bands are running on fumes or coasting and sputtering to album No. 7, Lamb of God are reinvigorated. They still have something to say and more to prove…to themselves and no one else. This sonic terror squad has come along way from playing squats in basements as Burn the Priest with one constant element: the instinct to make legit, honest music their way, which is just what they've done with Resolution.

“The first and foremost thing that you have to realize about LOG is that we do exactly what we want, when we want, and how we want to," declares vocalist Randy Blythe. "We always have and we always will. That’s why each record is a snapshot in time. We never consciously sit down and say 'We’re going to keep it heavy. We’re going to keep it metal.' We just do that because that’s what we want to do. If we felt like putting out a polka record tomorrow, we would. We’re trying to make 'smart' heavy music.”

Point taken and mission most certainly accomplished with Resolution, a 100 percent trend-free and intelligently constructed album that could power a small country with its unstoppable energy and potent riffery. In a scene littered with "here today, gone tomorrow" bands, Lamb of God have survived because nothing stops them from staying the course they've purposely chosen to embark upon. They're not here to collect a check or respond to a label exec's request to pen a "radio song." It's none of the above for Lamb of God. The men that comprise the band are a little older now, a lot wiser and have families to support. Yet despite all those realities, making this music and making it their way is something that compels them, drives them and sustains them.

“You can still be a band that goes to the practice space, actually writes music together and then records. Being an actual band is still a viable option," Blythe says. "Bands are disappearing with digital recording today. Things are progressing to the point where people are just playing a riff or pattern and programming the drums, and at the end of the day, they have a technically perfect record, but it isn’t a real record. We didn’t do that. Our record is a REAL record.” Indeed, there is blood and adrenaline coursing through every vein of Resolution and its pulse will be felt by all who listen. It's an incredibly human record.

"We're not spitting out a Lamb of God template record," guitarist Mark Morton says. "If it's uninspired or you have nothing left to say, you stop. We're all putting other things in life off to do this, and we're not going to do it if gets boring to us. It's still exciting on our seventh studio record. We're still gaining momentum and getting better." That's not a quality you come across often with aggressive bands. Playing physically taxing music at full tilt leads to wear and tear on the body and the mind, but Lamb of God are not affected by such issues. They're like mutants made stronger by challenging themselves. While 2009's Wrath was sonically forceful enough to shift tectonic plates, Resolution finds the band knocking out their songs with the signature groove and swagger that made them heir apparent to Pantera's throne --an accolade left at LOG's doorstep by critics over time-- but with a little more refinement and attention to dynamics.

Overall, Morton feels that Resolution is the natural next chapter in his band's history, albeit one that harks back to the past, saying, "It almost completes the circle. There is a purity in the music, like when you first begin and you don't have those big aspirations, in a business sense, other than to play."

Drummer Chris Adler, long regarded as one of the most jaw-droppingly talented and proficient rhythm keepers in metal concurs, "Wrath was a bit of a first round knock-out punch to the face album and was purposefully very aggressive. Resolution is much more of a dynamic album.” He also feels that Resolution is born of the desire to surprise himself along with the fans who are happily along for the ride. He says, “A lot of bands get to the point where they put out seven or eight records and fans start to take them for granted. They aren’t the 'cool guys' anymore. I’m not immune to that, and we wanted to push ourselves and surprise ourselves by not resting on prior successes and by default surprising our fans.” Even so, he's not interested in following any sort of trends. He continued, “The biggest thing is that we don’t all want to be the next 'fill in the blank.' We don’t have a unified influence as a band. Because of that, our approach and our sound is slightly different than most bands. We fight and argue which makes it a more honest process.” As bandmate Blythe said earlier, Lamb of God, as an entity is like a living, breathing creature, not one that is plugged in.

The desire to maintain a "personal best" also keeps Adler and his bandmates at the very top of their game this deep into an enviable career. “What inspires me is to outdo the 21-year-old that I was," he states. "I have to prove to myself that I am still a player in this game and keep up with the best. As a band it was important to us to prove to ourselves that we have something left to offer. We don’t need to put out records anymore, but we want to put out records. We don’t want to tarnish the legacy of the band, so whatever we do has to be stronger than what we’ve done. And we’ve done it with Resolution.”

As Blythe decreed, the fact that the band owns the same goals since their humble beginning is what makes the album so real. Bassist John Campbell says, “Putting out heavy music has been our aim since we started this. We wanted to be a great, heavy band. It was never a thought to us that this would be conceptual commercially. We’re all the original members and this is what we do. This isn’t a contrived business thing to get famous and make money. Our core value is to write heavy music, and I think that’s what makes a great band.”

Amen to that!

So with that mindset firmly and collectively in place, when it came time to write and record Resolution, and to get into the meats and the guts of the album, the band elected to let producer Josh Wilbur become involved sooner, to direct what was flowing out of them, egos be damned. "We did incorporate Josh [Wilbur] a bit earlier in the process this time around," guitarist Willie Adler says. "To have an objective ear early on in the process allowed us to sideline our egos at times and really drive for the best shit possible. We also wanted, as far as guitars are concerned, to really capture our live tone to record.”

Morton also revealed that the band did try something new and different with Resolution. “Unlike any other album before, this album was written over the course of a couple of years, at least with the guitars. Willie and I starting songwriting as soon as we started touring with Wrath," instead of their usual M.O. of touring writing upon their return from the road. "Due to having the recording software, we were able to take down ideas," he says about the head start. As a result, Resolution boasts some of the most punk rock moments and some of the bluesiest moments of the band's recorded career, perhaps fostered along by the liveliness of the writing-on-the-road process.

The album may display some of the band's deeper and less obvious influences, but Chris Adler is quick to assess the album's frantic energy. You can feel tension and release in the songs, making the album as a whole a truly cathartic experience. He says, “We really were living on a bit of the edge of our capabilities. There are some frantic moments in the music; they sound almost panic-inducing. The album is overwhelmingly aggressive and will definitely get people off their asses and driving fast.”

Blythe, he of the booming, bellowing voice, is known for spitting out provocative verses in a militaristic, almost drill-sergeant style bark. His voice and his style demand and command your attention. What he declares in the space of his lyrics isn't always comfortable –for him or for you- but he will always make you think about what he is saying. "I’m 40 years old, and I’m just now really getting some clarity on where my place in my life is," Blythe admits. "This is about me getting clarity after partying for a long amount of time, looking at my life and saying 'This is where I am, where do I want to go now?'"

Asking that question, which is something more than a fair share of the band's red-blooded, average American fans are likely to pose to themselves, allowed the singer to enter an entirely different zone on Resolution. While he may have experienced discomfort, LOG ended up with a better and more honest record for it. He continues, "It’s an introspective record and goes over some uncomfortable things for me. I hope people that hear those lyrics will look at themselves and look at the world around them and say 'This is where I am, I don’t like this.' and try to invoke a change in themselves. My overall feeling for this record is 'awakening.'"

The singer admits that he was attracted to underground, aggressive music in his youth because it offered a voice of dissent, one that he could relate to, so he attempts to distill that same feeling into Lamb of God. "That’s what I’m trying to put forth in my music," he says. "Not everything is really okay. You can have your cable TV and Xbox in your car or whatever, but that doesn’t mean that everything is okay and you can just stop because it’s easy. The root of what I try to put forth lyrically is 'Think for yourself.' Do something, do anything.” And that's precisely what bonds Lamb of God to their legion of loyal fans that have stuck with them for seven albums. Well, that and those bludgeoning riffs and technically proficient grooves have something to do with it, as well!

While Resolution admittedly contains some of "the swampiest, sludgiest stuff" of their career, according to Morton, as well as some of the aforementioned "most punk" songs they've ever laid to tape, the album also boldly goes elsewhere and features strings, orchestral movements and bluesy, acoustic guitars living among the band's patented, potent groove and swagger. The song "Insurrection" is a signature, natural and instinctive moment for Chris Adler, who revealed the song was born when the group was locked together in a room and tasked with seeing what it could come up with.

Album closer "King Me" is a real showpiece on an album full of showpieces. As Resolution's punctuation mark, it's a beautiful piece of music from grizzled, meat-and-potatoes-peddling veterans. It was purposely placed at the end of the album, as an unexpected pay off for the fan who spent an hour of his or her life listening to what came before it. Even though Lamb of God make music that could put hair on your chest, underneath the buzz of the guitars, the thunder of the percussion and the ferocity of the vocal declarations, this is still thinking man's metal.

""King Me' is an epic song," Blythe declares without hesitation. "It fits that definition, there’s no way around it. When a song is an epic song, you want to make it as big as possible, which is what we did with the opera singer and the string incorporation." Morton shared a little more about the process and how they arrived at such an "epic" moment, saying, "This isn’t necessarily us changing our songwriting approach or the method, but we really stretched out in the way we 'treated' the songs. Those are things that are added to the song after the fact, but they have a very impact on the overall sound. I don’t think we looked at it as 're-inventing' ourselves; it’s really as simple as that we’re continuing to strive to make music that we’re interested in and that we’re challenged to play, and that we enjoy performing.”

Now that Resolution is in the books and has asserted its rightful place as one of the most cohesive, dynamic and boot-to-the-throat heavy albums in Lamb of God's already extensive body of work, complete with epic and provocative moments, the goal remains singular: to move fans and connect with them, all the while creatively stimulating themselves. Lamb of God are pleased with the album. The only question mark is the fans and judging from the heft and the intensity of Resolution, there will be nothing but pleased fans once they get a load of the album.

Willie Adler said, "To see someone who has really been touched by the music is inspiring to me. Regardless of what emotion they’re feeling, what they’re going thru in their life at that moment, as long as they feel something, I feel as though I’ve done my job.” It's true that Resolution has the capacity to connect with its listener on multiple emotional levels, in addition to the sonic one.

Perhaps Morton sums up Resolution the best: "If it doesn't make you want to push the accelerator to the floor a little harder, flip off a cop or throw a bottle against a brick wall, then I haven't have done my job."

Few bands can craft an album that's as thoughtful as it is visceral. One is often sacrificed in favor of the other. But such is not the case here. Lamb of God have managed to create a masterwork that allows the listener to unlock layers of sound and meaning on each consecutive listen.

There's a whole host of reasons that Lamb of God remain at the top of their game in 2012, while others have faded and fallen away. Resolution is evidence of the band's stronghold on heavy metal in 2012. None can match it, nor do they come close.

In 2012, and with Resolution, Lamb of God has earned their place in the metal pantheon. 

Sumber : http://www.lamb-of-god.com
http://www.lamb-of-god.com/thecongregation

FORGOTTEN

Genre : Death Metal
Bandung, Indonesia

Terbentuknya FORGOTTEN tidak pernah lepas dari sejarah komunitas musik HOMELESS CREW di Ujungberung Bandung. Bagian dari sebuah komunitas musik cadas paling tua di Bandung dan masih tetap aktif hingga sekarang. Mereka lahir dan berkembang untuk menjadi bagian dari sejarah musik underground di Bandung dan Indonesia.

Bulan January 1997 album pertama "FUTURE SYNDROME" di rilis. Bermaterikan enam buah lagu berlirik Inggris di rilis oleh bendera indie lokal PALAPA RECORD. Mengusung konsep musik old skool death metal style yang dipadukan dengan beat hardcore dan cross over/thrash metal. Karakter sound kasar, gaya vokal rought screaming yang emosional dipadukan dengan lirik yang bertemakan social dan politik mencoba memotret kondisi realitas yang terjadi pada saat itu. Peredarannya mencakup wilayah Indonesia dan Asia. Sedangkan untuk peredaran di wilayah Eropa di rilis oleh perusahaan indie Jerman MORBID RECORDS.

Bulan Maret 1998 album single promo FORGOTTEN bermaterikan dua buah lagu dengan titel "OBSESI MATI Promo Tape 98" di rilis di bawah perusahaan indie lokal ROCK RECORD. Pasca Forgotten mulai konsentrasi untuk penggarapan proyek full album yang ke dua. Bertempat di studio Rehearsal 40124 Bandung, sepuluh materi lagu mulai di rekam. Di bawah label indie lokal Extreme Soul Production, bulan Agustus 2000 album kedua "OBSESI MATI" dirilis. Pada album ini Forgotten berhasil menemukan karakter musik death metal yang bersumber dari realitas personal. Lirik yang gelap, depresif serta tehnik vokal yang sangat emosional. Album ini seolah menjadi representasi dari sebuah realitas jaman.

Bulan Juli 2001 kembali FORGOTTEN masuk studio. Sebuah album yang menuai banyak kontroversi dengan titel "TUHAN TELAH MATI" dirilis bulan Agustus 2001 oleh ROCK RECORD. Berisi 4 lagu dengan aransemen musik technical death metal dengan lyric yang sarcastic menggunakan sudut pandang teori filsafat nihilism dan diproduksi dalam jumlah yang terbatas.

Bulan Maret 2003 FORGOTTEN merilis album ‘TIGA ANGKA ENAM dibawah label ROTTREVORE RECORDS. Berisi 10 lagu dengan aransemen musik death metal yang variatif. Gabungan antara skill bermusik, eksporasi kecepatan dan power hingga titik maksimal. Sebuah album yang penuh dengan nuansa kegelapan dan terror namun dibalut oleh bahasa puitis dan metaphor yang cerdas. Ini adalah salah satu koleksi album death metal paling inspiratif di Indonesia. Pada tahun 2008 album ini kembali dirilis dalam bentuk CD.

Pada tahun 2011 tepatnya bulan Juli Forgotten kembali merilis album bertitel 'Laras Perlaya'. Album ini dijual satu paket dengan buku novel yang isinya bercerita tentang makna lirik yang terdapat dalam CD.

Sumber : 
http://www.forgotten-official.com
http://www.myspace.com/forgotten-official
http://www.reverbnation.com/forgotten666

TOTAL TRAGEDY

Genre : Doom / Ghotic Metal Surabaya, Indonesia

History

Total Tragedy tampil pertama kali di event Pensi (Pentas Seni) Maret 1999, di SMU 13 Surabaya. Waktu itu mereka masih duduk di kelas 2 di sekolah tersebut. Formasi awal itu diantaranya : Harru TT (Vocal/growl), Martha (female vocal), Samsul (Guitar), Wisnu (Gitar), Richard (Bass), Taufany (Keyboard) dan Eko (Drum). Dalam event itu mereka membawakan lagu-lagu dari Within Temptation & Theatre of Tragedy dengan style Gothic/Doom Metal, memadukan vocal growl dan female voice. Setelah ‘debut gig’ tersebut, mereka melanjutkan mengikuti event-event dalam scene Underground baik di Surabaya sendiri, seputaran Jawa Timur dan Jawa Tengah.
Di sela-sela aktifitas, mereka merekam beberapa lagu untuk dirilis dalam demo dengan single “Sinar Batas Sepi & Kiss Of Death” di pertengahan tahun 2000. Selanjutnya mereka melengkapi materinya hingga me-rilis debut album “Every Story Has a Glory” tahun 2001. Dengan modal album tersebut, mereka semakin bersemangat untuk melakukan promo dan konser.
Dari album itu pula, lagu “Tenggelam ditelan Duka” terekam dalam Kompilasi “Legion Timur” dan lagu “Hampa ku Menanti” di Kompilasi “Metalik Klinik 5?. Kedua kompilasi tersebut dirilis oleh Rotorcorp, label indie underground, dan distribusi nasional oleh Musica Studio pada tahun 2001 dan 2002.
Dalam beberapa waktu kemudian, mereka ikut meramaikan launching “Metalik Klinik 5? di GOR Bulungan Jakarta. Serta berikutnya ikut konser siaran langsung nasional dengan tajuk event “GO ROCK” di TVRI Jakarta sekitar bulan April 2002, beserta band brutal death GODZILLA & Toilet Sounds yang grunge.
Jeda beberapa konser, mereka merekam album kedua “Heaven” yang dirilis pertengan tahun 2002 dengan formasi Harru TT (Vocal/growl), Martha (female vocal), Samsul (Guitar), Richard (Gitar), Ao (Bass), Adi (Keyboard) dan Eko (Drum). Sama seperti pada album yang terdahulu, semua lirik dikerjakan oleh Harru TT, dibantu oleh Yoyok. Demikian pula dengan semua lagu ditulis oleh Harru TT dan Martha. Sedangkan untuk musik dan aransemen dikerjakan bersama. Di album ini, menghasilkan single “Maria” yang cukup banyak direquest oleh para peminat Total Tragedy. Di masa ini, mereka juga mengikuti banyak konser diantaranya “Hitam-Hitam on Stage” di Jakarta (oleh VR Ent), “Monster of Rock” (oleh Mipro) di kawasan Jawa Tengah serta “Sounderground” (oleh Metallium Prod) di kawasan Bali.
Ada suatu masa, dimana mereka mengalami beberapa problem, sehingga berpengaruh pada line-up personilnya. Akhirnya mereka tinggal berempat, Harru TT (Vocal / Penulis Lirik & Lagu), Adi (Guitar & Penulis Musik), Samsul (Guitar) dan AO (Bass). Sedangkan dalam melakukan kegiatannya, mereka banyak dibantu oleh Agro (drum), Marchell (Keyboard) dan Ani (Female vocal). Apapun kondisinya, kreatifitas tetap berjalan, Harru TT segera menulis Lirik dan lagu, bersama Adi yang mengerjakan semua musiknya. Sehingga dalam sesi ini, hampir bisa dikatakan dalam kendali Harru TT dan Adi hingga mereka masuk studio rekaman. Album “Labyrinth”, dirilis akhir tahun 2006. Produksi dan distribusi secara independent tetap dibawah SonnenGott Musik, label dan manajemen sejak mereka terbentuk. Market pun diperluas, SonnenGott Musik juga mendistribusikan album digitalnya lewat internet (apple/iTunes) sehingga bisa diakses di luar teritorial Indonesia.
Perubahan memang perlu, demikian pula dengan mereka, Total Tragedy berkeinginan untuk mencoba sesuatu yang belum pernah dilakukan. Meskipun harus dengan bersusah payah dan perubahan besar, akhirnya mereka merekam lagu dalam format akustik. Single “Red Atmosphere” dan “Morning Sun” dirilis pada bulan Agustus 2008. Dengan tajuk “gothcoustic”, format CD tersebut dikemas spesial dalam “bag pack”. Lagu & lirik tetap ditulis oleh Harru TT, sedangkan musiknya dibantu oleh Ayik, gitaris Candlelight, band black/heavy metal, Surabaya. Dalam “enriched” CD tersebut, juga memuat Ringtones, Alertones, MP3, Pictures, Text dan Lirik, sehingga dapat di-explore lebih komplit di PC.

Sumber : http://totaltragedy.com/history/
http://www.totaltragedy.com https://www.facebook.com/totaltragedy/info

HELLGODS di bentuk di Bandung pada 16 September 1995 yang pada awalnya merupakan band session karena para personilnya merupakan gabungan dari beberapa band sebelumnya dengan line up personil pertama:

Ade Black Wizard : Vox
Abu Black Ash : Guitars, Vox
Loex’ Black Storm : Guitars, Vox
Chex’ Barbarian : Bass
Agung Abyssia : Drums

Pada awalnya HELLGODS membawakan lagu-lagu dari THE ABYSS, ROTTING CHRIST, NECROMANTIA, IMPALED NAZARENE & CRADLE OF FILTH yang mana pada waktu itu band-band tersebut menjadi salah satu influence bagi mereka. Band ini tumbuh secara solid dan mereka pun menemukan konsep musik pertama mereka dengan menyebutnya Extreme Violence Black Metal. Pada bulan November 1995 mereka mengeluarkan single pertamanya yang diberi titel ‘Satanic Christians’ untuk mengisi sebuah acara Bedah Demo yang diselenggarakan oleh GMR Rock Station-Bandung, dan single tersebut berhasil menjadi nominasi 10 besar. Seiring perjalanan karir mereka dengan banyaknya event/gigs yang mereka lakukan, akhirnya mereka berhasil menelurkan album perdananya yang bertitel ‘When The Forest Became My Kingdom’ yang berisikan 8 buah lagu dibawah label Nocturmoon Records yang dirilis pada bulan Juli 1997. Dalam album tersebut mereka memakai additional player untuk mengisi Female Voices yaitu Sisca Fransisca (PRAETERMONSTRO), namun pada event/gigs yang mereka lakukan pada waktu itu untuk Female Voices mereka memakai additional player lainnya yaitu Rini Vixen, Kiki Vempire dan Fransisca Ria Vamperotica.

Pada bulan November 1997 mereka mengeluarkan single terbarunya yang bertitel ‘Kabut Keabadian’ untuk mengisi album Kompilasi Underground pertama yang dirilis secara major label di Indonesia yaitu “Metalik Klinik” oleh Musica Records dan pada tenggang waktu yang cukup dekat, mereka memasukan dua buah lagunya yang diambil dari album perdananya yaitu ‘The Blackness of The Night’ dan ‘In The Battles of Barbarian War’ untuk mengisi album Kompilasi Black Metal pertama yaitu “Blacker Than Darkness” yang dirilis secara independent oleh sebuah Organisasi/Komunitas Musik Black Metal yaitu Black Mass - Blacker Than Darkness Bandung. Perjalanan karir mereka saat itu sangat menggebrak perkancahan scene Black Metal di Indonesia dan gaung perkembangannya terdengar sampai ke beberapa negara di Asia. Perkembangan karir mereka kian memuncak dengan banyaknya event/gigs yang mereka lakukan, namun keberadaan mereka yang solid mulai retak yang kemudian diguncang dengan pengunduran diri seorang personil mereka sekaligus salah satu founder dari band ini yaitu Abu Black Ash pada bulan Mei 1998. Untuk sementara waktu mereka berjalan dengan beranggotakan empat personil, yang pada akhirnya pada bulan Mei 1999 mereka merekrut seorang personil barunya yaitu Syam’s Dark Winter (AULL) untuk mengisi Bass yang mana posisi Guitar yang ditinggalkan oleh Abu Black Ash diisi oleh Chex’ Barbarian. Maka line up personil band ini berubah menjadi:

Ade Black Wizard : Vox
Loex’ Black Storm : Guitars, Vox
Chex’ Barbarian : Guitars, Vox
Syam’s Dark Winter : Bass
Agung Abyssia : Drums

Dengan line up personil tersebut keberadaan mereka kembali solid dan dalam waktu bersamaan mereka sepakat merubah konsep musiknya menjadi Fast & Melodic Black Metal yang kemudian mereka kembali mengeluarkan single terbarunya yang bertitel ‘Ahl Sohn Bar ‘untuk mengisi album Kompilasi Black Metal dari Extreme Soul Productions yaitu “Neohellist” pada bulan Maret 2000. Tenggang waktu setelah dikeluarkannya single tersebut, mereka mengalami kevakuman yang cukup lama yang disebabkan oleh banyak hal hingga pada akhirnya pada bulan Mei 2002 tiga orang personilnya mengundurkan diri yaitu Chex’ Barbarian, Agung Abyssia dan Syam’s Dark Winter yang kemudian band ini mendapat penggantinya dengan merekrut kembali seorang mantan personil lamanya yaitu Abu Black Ash dan juga dua orang personil barunya yaitu Deadizzia Necrolord (UNSEEN DARKNESS) dan Hendra (MOTOR DEATH), maka line up personil HELLGODS kembali berubah menjadi:

Ade Black Wizard : Vox
Loex’ Black Storm : Guitars, Vox
Abu Black Ash : Guitars, Vox
Deadizzia Necrolord : Bass
Hendra : Drums

Pada bulan Agustus 2002 mereka kembali mengeluarkan single terbarunya yang bertitel ‘I reach…The Eternity’ untuk dimasukkan ke dalam album terdahulunya ‘When The Forest Became My Kingdom’ yang dirilis ulang oleh Prapatan Rebel di akhir tahun 2002. HELLGODS kembali menggetarkan perkancahan scene Black Metal dengan banyaknya kembali event/gigs yang mereka lakukan yang kemudian pada bulan Maret 2003 mereka kembali mengeluarkan single terbarunya yang bertitel ‘Melebur Jiwa’ untuk mengisi album Kompilasi “Dark To Eternity” yang dirilis oleh Darkness Earth Productions dan pada Desember 2003 mereka mengcover sebuah lagu milik SEPULTURA yang bertitel ‘Troops Of Doom’ kedalam versi mereka untuk mengisi album Kompilasi “Sepultribe - A Tribute To Sepultura” yang dirilis oleh Insane Dreams Productions & Brisik Distro.

HELLGODS kembali mengalami vakum cukup lama, yang akhirnya salah satu personil mereka Hendra mengundurkan diri. Beberapa tahun kemudian dikarenakan rutinitas yang menuntut konsentrasi penuh pada kesibukan lain akhirnya kembali seorang personil mereka sekaligus salah satu founder dari band ini juga Ade Black Wizard mengundurkan diri tepat sebelum launching kembalinya HELLGODS di kancah scene Black Metal tanah air. Akhirnya band ini memutuskan Abu Black Ash untuk menjadi vokalis sekaligus merekrut personil baru nya Hariz da Grinder (TERRIBLE SYMPHONIC) untuk mengisi kekosongan pada Drums yang dimulai dengan gebrakan baru mereka pada sebuah event yang bertajuk “The Blackened Rebirth” di The Rock Café – Bandung 2009 yang digelar oleh Organisasi/Komunitas Musik Black Metal Bandung yaitu Black Mass “Blacker Than Darkness”. Dan di tahun ini pula kembali mereka membuat sebuah single teranyarnya yg diberi titel The Blackened Rebirth (unreleased) dengan mencoba memberikan konsep baru mereka Electro-Industrial Black Metal dengan line up personil:

Abu Black Ash : Vox
Loex’ Black Storm : Guitars/Vox
Deadizzia Necrolord : Bass
Hariz da Grinder : Drums

Di awal tahun 2010 konsep Electro-Industrial Black Metal ditinggalkan oleh HELLGODS dan kembali hadir dengan konsep baru Symphonic Black Metal yang kemudian mereka merekrut seorang additional player yaitu Reyza (UNSEEN DARKNESS) pada posisi Synth/keyboard.

Kembali band ini diguncang dengan mundurnya Loex’ Black Storm sebagai gitaris pada pertengahan tahun 2010 yang akhirnya membuat band ini mengamit dua gitaris sebagai additional player untuk mengisi kekosongan tersebut, yaitu Abah Desecrator yang juga sebagai Manager mereka pada saat itu dan Igor Nazaroth dari DIVINE BLACKNESS, dan di tahun ini pula akhirnya Reyza dikukuhkan sebagai personil tetap HELLGODS dan mereka pun kembali tampil di beberapa event/gigs di tanah air dengan puncaknya di akhir tahun 2010 sebagai opening MARDUK, salah satu gods of darkness di kancah black metal dunia.

Pada awal tahun 2011 Abah Desecrator kembali untuk berkonsentrasi di sisi managerial HELLGODS dan kemudian JP (MORTIFIED) bergabung untuk menjadi gitaris tetap band ini, dan kembali di penghujung tahun mereka merilis sebuah single yang diberi title ‘Awakening Of The Mighty Infernal Gods’ dibawah label Inhail Project. Maka line up personil dari band ini kembali lagi berubah menjadi:

Abu Black Ash : Vox
Deadizzia Necrolord : Bass
Hariz da Grinder : Drums
Reyza : Synth/Keyboards
JP : Guitars

Di tahun 2012 JP terpaksa mengundurkan diri dikarenakan fokus pada penyelesaian studi nya. Sejalan dengan agenda band ini yang telah banyak tertunda, akhirnya pada Agustus 2012 mereka kembali merekrut personil terbarunya yaitu YorGad (CEPHALIC DISINTERMENT) untuk mengisi posisi Guitar, sehingga line up HELLGODS saat ini adalah:

Abu Black Ash : Vox
Deadizzia Necrolord : Bass
Hariz da Grinder : Drums
Reyza : Synth/Keyboards
YorGad Djevelen : Guitars

Sumber : www.hellgods.com
https://twitter.com/HellgodsBand 
http://www.reverbnation.com/hellgodsofficial  

Kabut keabadian by hellgods

MERCHANDISE :
Nicky, 021 - 92174608
BK Rock Shop, Jl Benda No. 10, Kemang Selatan, Jakarta Selatan.

Sumber :
https://www.facebook.com/pages/Betrayer-Indonesia/144565942242625
http://twitter.com/BETRAYER_BAND

THY ANTICHRIST 

Genre : TRAGIC EXISTENTIALIST BLACK METAL

Dallas, TX






Sumber :

 https://www.facebook.com/THYANTICHRIST/info
Band Contact:
thyantichrist@gmail.com
LIFE WITHOUT MUSIC WOULD BE A MISTAKE. F. Nietszche // DALLAS TX - USA // Band Contact & Booking: thyantichrist@gmail.com // www.reverbnation.com/thyantichrist 

Originating from Bandung, West Java, Burgerkill were formed in 1995 and have been continually shaping the underground metal scene in Indonesia ever since. For 16 years Burgerkill have consistently been in the spotlight as a force to be reckoned with in Indonesian metal, from writing compositions for movie soundtracks to the successful publication of autobiographic novels.

Their first album, 'Dua Sisi', demonstrates the band's beginnings as a leaning towards a predominantly 'Hardcore Metal' and was well received within the underground metal community. With their second album 'Berkarat' and their most recent 'Beyond Coma and Despair' Burgerkill have found their foot-hole and developed a style of their own. Burgerkill set the standard for live metal performances in Indonesia, and have always been a clear cut above the rest. What you hear on the album is what you get live - no disappointments. Their style and level of performance are incomparable to anything previously seen or heard in Indonesia. Burgerkill have become veterans of the metal stage as they are regularly supporting International metal acts touring Indonesia such as The Black Dahlia Murder, As I Lay Dying, and Himsa.

Burgerkill is a dynamic composition of talented musicians who have all individually featured as prominent influences within Indonesia's underground metal milieu. With Vicky on vocals, Ebenz on guitar, Ramdan on bass, Andris on drums, and Agung on guitar, the result is a lethal combination of musicians who, as if by instinct, produce a most rancorous sound that leaves you feeling downright butchered. Self produced and Burgerkill's most recent album, 'Beyond Coma and Despair' has been tagged by Rolling Stone Magazine as 'One of the best albums of the year' (2006). As true innovators in the scene, Burgerkill are a testimony for all things Metal, and not just within Indonesia. With fans all over the world, Burgerkill have become a global phenomenon. And having tons experience on the Metal scene, including tours in Australia and South East Asia, with performances alongside Lamb Of God (USA), DevilDriver (USA), In Flames (SWE), All That Remains (USA), Unearth (USA) and many more internationally renowned bands, at Soundwave Festival 2009 and Big Day Out 2010.

For years Burgerkill have stood the test of time and proven to the world they are a force to be reckoned with! For years Burgerkill have unleashed hell on-stage, exhibiting an attitude and energy like no other. For years BURGERKILL have pushed the barriers and gone way over the line all in the name of Metal. In June 2011 Burgerkill again enrapture the world with the release of their new album 'Venomous'. More captivating and enthralling than ever before, Burgerkill prove once again that there are no barriers in Metal and have established themselves as a internationally acclaimed band. There is nothing mediocre about the album Burgerkill attack each song with great ferocity. 'Venomous' is a unique album in that each song churns out a colossal sound, delivering to the listener an unrelenting assault on the eardrums. 'Venomous' more than proves with absolute certainty that Burgerkill will reign eternal in the metal world.

Sumber : http://WWW.BURGERKILLOFFICIAL.COM
http://WWW.MYSPACE.COM/BURGERKILLOFFICIAL
http://WWW.YOUTUBE.COM/BURGERKILLOFFICIAL
http://WWW.REVERBNATION.COM/BURGERKILLOF...
http://WWW.PUREVOLUME.COM/BURGERKILLOFFI...

  Burgerkill banggakan Indonesia dalam pentas music "Metal" sebagai Best metal AsF**K Catagory

 

BALLERINA
Genre :  progressive metal
sebuah band yang berasal dari kota kembang Bandung. alran musik band ini adalah progressive metal atau banyak orang menyebutnya dengan PROGMET. sebelum menjadi ballerina  Band ini bernama "Suhunan Root" yang berdiri  tahun1998 ..

Singkatnya, banyak orang yang telah ikut berperan dalan "Suhunan Root" dan ikut membantu hingga akhirnya kini berubah nama menjadi Ballerina. Perubahan nama Suhunan Root menjadi Ballerina terjadi pada tahun 2002.

Filosofi nama Ballerina itu sendiri yaitu pandangan terhadap seorang penari balet yang banyak melakukan tarian atau gerakan yang betul-betul indah untuk dilihat tetapi sulit untuk melakukannya, begitu juga musik Progressive menurut Ballerina, jenis musik ini sangat sulit untuk dilakukan atau dimainkan juga memerlukan skill yang betul-betul terlatih, tetapi bila didengarkan musik Progressive itu terdengar sangat unik dan indah.

berikut adalah pormasi balerina: Opi (voice), Nico (guitar & synthesizer), Joe (bass) dan Riky (drum & percussion).

Sampai saat ini Ballerina sudah menghasilkan karya sebanyak 2 album yaitu, album

• “HAYAL” tahun 2003 yang masih memproduksi secara indie label di Flange Music Corner Record, 
•  “Dance Of Balet” tahun 2006 yang diproduksi oleh PRS Record yang berada dibawah naungan IPS (Indonesian Progressive Society) yang bekerjasama dengan Major Label Sony BMG sebagai pihak distributor.

Dengan perjuangan keras, akhirnya pada tahun 2008 Album “Dance Of Balet” mendapatkan penghargaan dari Anugerah Musik Indonesia (AMI Award) 2008 dengan kategori sebagai Karya Produksi Musik Progressive Terbaik.

Dwnload lagu-lagu balerina Klick Disini

Sumber :
http://id.wikipedia.org/wiki/Ballerina_%28grup_musik%29

POWER METAL
Genre     Heavy Metal,
Label     Logiss Records

           Power Metal adalah band beraliran Heavy metal yang berasal dari Indonesia, Power Metal pertama kali dibentuk dengan nama Power Band dengan formasi awal Totty M. (vokal), Ipunk (gitar), Pras Hadi (bass), Raymond (keyboard), dan Mugix (drum). Namun formasi tersebut berubah dengan digantikannya posisi vokal oleh Pungky Deaz dan bass oleh Hendix Sanada dan selain itu nama bandnya pun berubah menjadi Power Metal.

           Sebelum menjelajahi dunia rekaman, dalam aksi panggungnya grup ini sering membawakan lagu-lagu Metallica, Anthrax, Helloween, Loudness atau Yngwie Malmsteen. Belum genap setahun dibentuk, grup band ini sudah menunjukan prestasi cukup membanggakan, antara lain dengan keherhasilannya menyabet juara pertama Festival Rock Remaja se-Jawa Timur di Lumajang (1987).
           Disusul tahun berikutnya meningkat jadi juara pertama Festival Rock se-Jawa di Kediri (1988). Prestasi ini dianggap belum cukup, masih ada satu event festival yang jadi targetnya, yaitu Festival Rock se-Indonesia-nya Log Zhelebour, obsesi Power Metal terbesar saat itu.
Perjalanan tahun 90-anMenjadi juara di ajang Festival Rock se-Indonesia Log Zhelebour adalah salah satu obsesi tertinggi Power Metal. Alhasil, dalam Festival Rock se-Indonesia V (1989), Power Metal menjadi juara. Selain itu Hendrix Sanada juga terpilih sebagai the best bassist.
           Waktu itu Power Metal sama sekali tidak menyangka bisa jadi juara. Grup band yang dianggap rival terberatnya saat itu adalah Andromedha (Surabaya), Kaisar (Solo) dan Roxx (Jakarta). Kemenangannya ini sekaligus menjadi awal perjalanan karier Power Metal menembus dunia rekaman.
Tour Raksasa bersama God Bless
           Sukses album pertama, Power Metal kembali menanda-tangani kontrak untuk album kedua. Di tengah persiapan album kedua, Ipunk mengundurkan diri, dan posisinya digantikan Lucky Setyo W, gitaris Andromedha Rock Band yang juga The best guitaris di Festival Rock se-Indonesia V. juga masuknya Freddy Rossy menggantikan posisi Prass Haddy pada bas,Album kedua berjudul Power Mission dirilis pada tahun 1992, diikuti album Power Demons (1993), Serigala (1995), dan Pesta Dansa (1996).

Perubahan personel terjadi lagi. Raymond dan Mugix mundur. Sementara itu Power Metal harus dikejar target menyiapkan album baru lagi. Untuk mengisi kekosongan itu, akhirnya ditariklah Ekko Dinaya (drummer) dan James Ireng (kibor). Album Peace,Love & War (1998) dirilis. Sayang, album ini lagi-lagi kurang mujur di pasaran walau secara musikalitas bagus.
Perjalanan pasca 90-an

Power Metal lama vakum. Setelah lama tak terdengar, akhirnya Power Metal merampungkan album ke-7, Topeng-Topeng Murka pada tahun 2002, yang proses rekamannya sampai mixing-nya dilakukan di Studio Natural– Surabaya. Sedang proses mastering-nya dikerjakan di Studio 301, Sydney – Australia. Proses penggarapan album ini butuh waktu hampir 2 tahun. Power Metal saat itu diperkuat Arul Efansyah (vokal), Ipunk (gitar), Endro (bas), Raymond Ariasz (kibor), dan Ecko Dinaya (drummer). Endro, mantan pencabik bas Red Spider, dan Ekko Dinaya, mantan drummer Eclips yang sudah gabung duluan di album Peace, Love & War.

Tahun 2004, Power Metal mendampingi Helloween (2004) saat manggung di Surabaya. Sebelumnya tahun 1990-an mereka juga mendampingi Sepultura, band thrash metal asal Brasilia, saat manggung di Tambaksari Surabaya.

Pada tahun 2005, album ke-8 berjudul Kebesaran-Mu beredar. Hits-hits andalan di album tersebut antara lain, Lagu Kebebasan, Srigala Malam dan lagu religi yang bertajuk KebesaranMu.
Sempat Kehilangan Arul Efansyah

Setelah merilis album KebesaranMu, Power Metal sempat kembali vakum dari panggung musik rock, sehingga, Arul Efansyah kembali ke kampung halamannya di Banjarmasin. Kawan-kawannya di Power Metal kehilangan kontak dengan Arul sehingga akhirnya membuat mereka berinisiatif mencari dan mencoba-coba beberapa vokalis baru, tapi tak lama, salah seorang penggemar Power Metal berangkat ke Banjarmasin dan berhasil menemui Arul, di medio akhir 2009, Arul kembali ke Jakarta untuk bergabung lagi dengan Power Metal yang saat itu telah mengalami pergantian personel, posisi keyboardist di-handle Sastro Adi yang juga additional band Blackout, dan pada bassist yang dibetot oleh Sababa ato biasa di panggil Baba. Ia jebolan festival musik di kota Gresik Jawa Timur.
Kolaborasi Dua Gitaris

Pada tahun 2010, Power Metal kembali menelorkan album yang diberi judul Power Metal IX (sembilan) yang berarti album tersebut adalah album kesembilan Power Metal, di album ini pula dua gitaris handal Power Metal yang tidak pernah bersatu dalam satu album yaitu Ipunk dan Lucky Setyo di satukan, ditunjang pula oleh permainan keyboard Sastro Adi yang menambah apik harmonisasi dan progresivitas pada alunan musik Power Metal. Namun ada juga lagu lama yang sempat hits di album pertama (Power One) yang di aransemen ulang yaitu lagu yang berjudul Satu Jiwa - empowered. Perubahan lainnya, sejak album ini nama Power Metal dieja tanpa spasi menjadi PowerMetal, berbeda dengan ejaan mereka sebelumnya, harapannya supaya mereka tak berpisah lagi.

donload lagu-lagu powermetal Klik Disini



Sumber :
http://www.powermetal-indonesia.com/
http://id.wikipedia.org/wiki/Power_Metal_%28grup_musik%29