BLOODSUCKING ZOMBIES FROM OUTER SPACE are a quite sympathetic band from Vienna, Austria that has started as a Horror Punk band back in 2002. The band became more and more inspired by the Psychobilly genre though and also included other subgenres in their sound. Musically, the band is inspired by groups like MAD SIN, NEKROMANTIX or THE OTHER. Lyrically, the band is inspired by horror literature and movies and they always honour this genre in a very humorous way. Topics include Dracula's Cadillac, parties at the graveyard, homages to the legendary Grand Guignol theater in Paris and more. Several tracks also include narrative passages from different horror movies, radio plays or interviews. The band stands out for their masquerades and energizing live shows. The four Young men from Vienna though also play a more Blues orientated side which is often shown in acoustic shows.

After 10 years, the band decided to put out a best of release entitled "Decade Of Decay – Gravest Hits". The band put the brandnew and atmospheric song "Decade Of Decay" on the album as well as 15 old tracks. The tracks from the first two studio records have been rerecorded and are much closer to the Psychobilly than to the Horror Punk genre. A good example is my favourite track "A Deeper Shade Of Red." The original version is a sweaty but romantic fast paced song with longing and passionate vocals. The new version kept all the great melodies but sounds much more relaxed and one can distinguish more instrumental details than before. Both versions definitely have their own charm and style and are quite great. If I had to choose, I would pick the original version and a few fans might be slightly disappointed by the new versions. On the other side, I think that the new recordings were a great idea because they add a new touch to the songs and justify this release instead of a simple unoriginal compilation.

This album is a true fun ride, anyway. After a few spins, you feel like singing, thrashing and banging along to all these songs. The catchy up tempo track "Monster Mutant Boogie" for example is an amazing feel good song. It's probably the catchiest song on here and one of the band's biggest hits. "Teenage Universal Creature" and "Dead Eyes" have an amazing Retro Rock influence reminding of Rockabilly and early Rock 'N Roll of the late fifties and early sixties. Black and white images of blond and long haired women dancing along to Rock music with Young men dressed in black costumes instantly came to my mind despite the humorous horror topics of the songs that please me a lot. The fast paced Punk orientated "Eaters Of The Dead" is also highly addicting. The mysterious keybokard driven "Reign Of Devils" with its atmospheric introduction including a choir of girls singing along, a catchy chorus and a few sound experiments is also a song that immediately caught my attention and became one of my favourite tracks on here.

Another true highlight is the last track, a live rendition of the bloody acoustic ballad "Mörder Blues." It's the only track sung in German which gives this song an undeniable charm. In fact, the band employs a strong Austrian dialect that simply sounds amazing. Even though I am German, I had to take a look on the lyrics from time to time to fully understand the intriguing dark romantic topic. That's a quite strange thing. I'm able to understand all kind of French Canadian accents from Cantley to Sept-Îles and from Matane to Dolbeau-Mistassini but Bavarian, Austrian or Swiss accents and even regional dialects are quite hard to be understood not only for me but for most (young) Germans. This accent certainly gives a certain charm to this unique track. I'm surely not the only one who is now hoping for more dark poertic German tracks on the band's future releases because it's original, unique and sounds simply amazing.

In the end, this greatest hits compilation is absolutely essential for Horror Punk and Psychobilly fans and for all those who like alternative short and entertaining mid- to up-tempo music. Horror fans should also spend some time reading the band's lyrics and take a look on their cool video clips and detailed booklets for example. Metal purists might not be interested in this but for all those who like to listen to something different from time to time, this band and in particular this record are highly recommanded.

(Online August 13, 2013)

Only one year after „Quecksilber“, Neue Deutsche Härte band STAHLMANN is back with a new full length release entitled „Adamant“. The third record of the German Industrial Rock and Metal band is the best album they have recorded so far.

The band opens the album with the surprisingly atmospheric, heavy mid-tempo track „Die Welt verbrennt“ that includes simple electronic beats, symphonic kevboard samples, catchy riffs and powerful vocals. Of course, the first song already reminds us of similar genre bands such as EISBRECHER and RAMMSTEIN in this case.

The second track „Süchtig“ focusses much more on catchy electronic beats and is a quite danceable up tempo track that distinguishes the band from the concurrence. The band did well to choose this track as a single because the German Gothic scene highly appreciates this kind of music in concert and in clubs of the „Black Scene“.

The third track „Wenn der Regen kommt“ is among my favourite songs of STAHLMANN. It has a rather melancholic atmosphere and convinces with sad guitar riffs, a sometimes surprisingly dominant bass guitar play, fitting atmospheric symphonic keyboard samples and variable vocals that remind me of OOMPH!. The chrous is extremely catchy and emotional while the verses are very dark. For a Neue Deutsche Härte half-ballad, one can't do any better and this song grows each time I try it out again. If the band was about to choose one more single from the record, they should definitely go with this track.

„Schwarz“ is a more danceable track like „Süchtig“ and stands out because of its humorous connection to a the traditional German song „Grün sind alle meine Kleider“ with the voice of an innocent girl that prefers black clothes instead of green costumes. This track features guest vocals by TEUFEL from the famous German Electronic Medieval Rock act TANZWUT.

The record has now developped a great flow and mixes catchy genre anthems with more atmospheric and experimental passages. The melancholic chorus of the overall rather heavy „Leuchtfeuer“ even combines both styles and includes once again danceable electronic beats in the background. This track is another highlight and potential live anthem. This is also the case for „Paradies“ and „Tempel der Lust“ that mix atmospheric verses with energizing and danceable choruses that are true fun rides. Another catchy mid-tempo track that mixes straight riffs with danceable beats is „Adrenalin“. The track presents nothing new but is a solid genre song as well.

The cold electronic beats and riffs of „Der Schmied“ remind me of early EISHEILIG and presents us a different and rather depressive side of STAHLMANN. The chorus is though quite catchy once again and includes interesting lyrics that fit to the genre. While the track is not entirely my cup of tea, it's surely a well done song that doesn't sound like the rest on this album. It's maybe even the most interesting song on here and discovers somehow promising new shores for STAHLMANN without going too far away from the usual sound. „Nackt“ is also a quite dark track but it also manages to send positive shivers down my spine by including quite powerful vocals and sexually driven lyrics. „Dämonin“ is also a cold Industrial Rock track with dark symphonic elements that add a fitting epic touch on a closing note. This song sounds though more positive overall and even pleases me more than the other two tracks as well.

The limited edition includes two more tracks with „Traumfrau“ and „Licht“. The first one is a rather exchangeable track with hard riffs and a very simplistic chorus that reminds me of several older STAHLMANN songs. The second track can be described as a half-ballad like „Wenn der Regen kommt“ with beautiful piano melodies, dark bass guitar tones, simplistic guitar riffs and powerful vocals that are crowned by a catchy chorus. This song should have made it on the regular edition without the glimpse of a doubt.

After three spins, „Adamant“ turns out to be the highlight of STAHLMANN's young career. The album sounds more diverisfied than the previous outputs and includes the band's most emotional half ballads to date with „Wenn der Regen kommt“ and „Licht“, the band's darkest track ever „Der Schmied“ as well as many immediately catchy club and live anthems like the singles „Süchtig“ and „Schwarz“ with TEUFEL from TANZWUT. The album offers nothing really new but makes the band sound more compact than before. There are no stinkers and no useless remix versions on here but thirteen classic and solid Neue Deutsche Härte anthems. STAHLMANN still can't mess with EISBRECHER, OOMPH! Or RAMMSTEIN but they have taken a big step forward to become one of the most prominent bands to take care of the heritage of the Neue Deutsche Härte. Five years ago, I was afraid that this genre would slowly die out but bands like STAHLMANN are proving me wrong now and that's a positive surprise to me. My advice for you is to give these genre successors a fair chance. If you don't know these guys yet, this record is definitely worth a try in comparison to the two more or less convincing first albums. Regular fans probably agree with me and consider „Adamant“ by far as the band's greatest album to date.

(Online August 7, 2013)

COPPELIUS is an absolutely unique band from Berlin who plays Metal music on cello, clarinet, double bass, drums and harpsichord. Some people describe the band as the Steampunk version of the Neue Deutsche Härte genre which is quite accurate. The band should also please to fans of Symphonic Metal legends APOCALYPTICA and to those who sympathasize with the German Medieval Rock scene around bands like CULTUS FEROX, DAS NIVEAU, IN EXTREMO, OMNIA or SALTATIO MORTIS. This record also includes a calm and profound cover of SUBWAY TO SALLY's „Maria“. The original laid back Medieval Rock song is already great but this new version pleases me even more. COPPELIUS are also known for their numerous IRON MAIDEN covers and this time they have chosen „Running Free“. Even though I'm a big fan of the New Wave of British Heavy Metal legends, I must admit that this cover song is clearly better and more original than the initial version. Go check it out!

The band also has a couple of quite promising own songs. The band varies from vivid and fast tracks like „Welt im Wahn“ to slower tracks like „Locked Out“. While darker songs like „Reichtum“ sound surprisingly modern, criticize society in their lyrics and are relatively simplistic by reminding of bands like KNORKATOR, OOMPH! or RAMMSTEIN, there are also more vivid songs like the danceable fun ride „Bitten, danken, petitieren“ that could come straight from APOCALYPTICA and more laid back tracks like the ballad „Butterblume“. The main riffs of „Mitten ins Herz“ even sound like early METALLICA which is quite captivating and funny. The humorous but sometimes also very well thought out lyrics are though the highlight of the record. The band criticizes in poetic words the excessive addiction to smartphones, i-Pods, tablets and similar more or less useful inventions in „Spieldose“. They underline the fact that fans feel like filming concerts instead of simply enjoying them in „Keine Kamera“. Other songs though have rather redundant lyrics like „Butterblume“ and „Geschwind“ where you can switch your brains off.

While COPPELIUS records are always entertaining, there is always a lot of hit and miss as well. „Extrablatt“ includes great and dynamical songs like „Welt im Wahn“, „Reichtum“, „Bitten, danken, petitieren“, „Locked Out“ or „Glaubtet ihr?“ but songs like „Spieldose“, „Butterblume“ and „Geschwind“ can't convince me. The new album also lacks a true hit like "Gumbagabanga" was for me on the previous output "Zinnober". The band is a really great live act with their their authentic stage settings, amusing costumes and funny and poetic speeches on stage. The studio records are quite good and „Extrablatt“ is surely among the stronger ones as well but they aren't truly essential or outstanding. Fans of their unique music should get this record but it's not a must have for everybody. A COPPELIUS concert is though something nobody should miss and a true unforgettable fun ride.

(Online August 6, 2013)

ANARCHADIA is a Progressive Thrash Metal band from Damascus, Syria that was formed only two years ago and already comes around with a first full length release entitled „Let Us All Unite“. Let's take the time to congratulate the band that has found the strength to form a band after a tumultous Arab Spring and an ongoing Syrian civil war opposing the governement helped by Hezbollah and the government of the Islamic Republic of Iran, then the Syrian opposition supported by Mujahideen and Al-Qaeda and finally the Kurdish Supreme Committee as a third party. Instead of taking position for one or another party, the band's message is quite clear as they want to spread some hope and wish that all parties may come together and come to an agreement. From that point of view, the intentions of these guys are not a far call from another great Oriental Extreme Metal called ORPHANED LAND.

When I first listened to the band's record, I though rather felt as if they were heading for the wrong direction. The music on here is dark, depressive and surely hard to digest. I'm not sure if this kind of music spreads any hope whatsoever but it may at least liberate people from frustration and show the world the ugly side of war in an artistic way. In comparison to this negative atmosphere on here, the legendary first EP by Iraqi Thrash Metal band ACRASSICAUDA almost sounds like a fun ride.

The record by ANARCHADIA needed a few spins to grow on me and I finally started to dig the challenging and intellectual concept. The record kicks off with a very cool instrumental track entitled „Devolution“. You are immeditaley put into a brutal war scene and the sound of gunfire develops into an Industrial Metal driven tune with cold guitar riffs and clipped drum sounds. Especially the transitions from gunfire to an imaginative drum play is very well done in the opener that reminds me of bands such as DAGOBA or PANTERA as well. Don't expect any exotic Oriental Folk sounds, this beast of an Album only experiments in darker tones of Western Metal standards.

What follows the promising opener is technically driven dystopian Extreme Thrash Metal that should please to fans of bands like NEVERMORE or VOIVOD. On a positive side, the songwriting is filled with progressive ideas, the guitar riffs are energizing and sharp and the overall atmosphere is a clear guiding line through the entire record. On a negative side, the drums sound a little bit noisy, thin and unnatural at times, the bass guitar lacks presence here and there and the vocals mostly remain in the Death Metal genre only which isn't my cup of tea. From that point of view, I should not only cite VOIVOD but also the French Canadian Progressive Death Metal bands MARTYR and QUO VADIS as references.

As positive surprises, I might cite the collaboration with Jon Schaffer of ICED EARTH fame who adds some vocals to „True World Order“ that though reminds me of a great NEVERMORE song. The three instrumental tracks on the album are among the highlights and are not a far cry from the heavier works of Progressive Metal legends DREAM THEATER. My favourite instrumental track is clearly the closing title song „Let Us All Unite“ that sends shivers down my spine thanks to an intelligent use of a great speech from Charlie Chaplin's legendary movie „The Great Dictator“. A closer look on the lyrics of this song and any other song from this album in general is worth your time and attention to fully appreciate this release. That's why a physical copy might make more sense than a simple download or look on the Bandcamp site if English is not your mother's tongue or if you are not able to fully understand the lyrics.

On a side note, I would like to give you the advice to try out the track „Occupy The Wall“. In the beginning, I thought it was hard to get an access to the sophisticated material on here but after a while, this special song turned out to be the catchiest one on the album. It's a slow paced dystopian anthem that almost heads for a Doom Metal Inspiration. You won't get it out of your mind once you have digged it.

The six Syrian musicians really have a lot of talent and should get further attention for their great technical skills and their open-minded songwriting. It's a true miracle that they have put out such a thought out metal release in times like these. Some things such as the employment of the bass guitar, the limited vocals, the somewhat too challenging songwriting and the production still have enough space to be developed but for a first album, this record is an atmospherically tense, lyrically authentic and musically well executed Progressive Extreme Metal release. Support this exotic band and be part of the more and more expanding metal globalization. I hope that this band may get the same credit as ACRASSICAUDA a few years ago and that the brutal civil war in their country might soon come to an acceptable end for each party.

(Online August 5, 2013)

THE OLD GARDEN GERANIUM is a young Melodic Death Metal band that hails from Italy. Formed back in 2010, the band released its first five-track self-released and eponymous EP in late 2011. Fans of Scandinavian Melodic Death Metal with a modern sound and twist should definitely give this first strike a try.

The band shows off a few solid technical abilities in the form of depressive riffs, as can be found in the atmospheric and bleak "Sunblast," but also beautiful melodic guitar solos as is in the vivid "One Step Inside." Mid-tempo and classic fast parts but also slow and atmospheric passages are well performed by the five musicians. The vocals vary from hissing Melodic Death Metal vocals to guttural Death Metal growls which adds some diveristy to the album.

In general, the band skips unnecessary keyboard sounds, acoustic guitars or other experiments without sounding all the same throughout the entire record. The only exception is the melodic album closer "The Road Not Taken" with its melancholic feeling that reminds me of the recent efforts by IN FLAMES. This track shows a few atmospheric sample sounds and/or short and well employed acoustic guitar parts in the opening moments, in the progressive middle part and in the appeasing closing moments as well. For open-minded fans of the genre, this promising EP closer is surely the album highlight while metal purists should prefer the first four efforts. All five songs are quite enjoyable to listen to and there is no such a thing as a true stinker on here.

In the end, traditional and more experimental Melodic Death Metal fans should keep an eye on the band. On a side note, the band has already released a new single entitled "Rise And Fall" earlier this year and is about to put out its first full length release "Illusion / Reality." Before the 13 new tracks see the light of day, you can do as I did and give this EP a few spins on the official Bandcamp page: http://theoldgardengeranium.bandcamp.com/

(Online July 30, 2013)