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Destruction – Timeless Bedlam

Matt Coe
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Destruction – Timeless Bedlam

Photo: Jennifer Gruber

No doubt faithful readers of this site are well aware of the long, rich discography present in German thrash mainstays Destruction. Their latest album Birth of Malice keeps the songwriting sharp – unleashing more anthems, rippers, and aggression on the vocal/musical fronts to keep those metal maniacs happy, clamoring for more. Never at a loss for words, we caught up with bassist/vocalist Schmier for a talk about the teamwork behind the latest album, how the band resonates with people from all cultures, paying tribute to Accept and their importance in the scene, the release of a band documentary, how his mother’s belief in his music endeavors shaped his career, NWOBHM album talk, technology / AI discussion, and future touring plans.

Dead Rhetoric: Birth of Malice is the latest Destruction album. How challenging is it for the group this deep into your career to develop fresh ideas that not only satisfy yourselves, but also gain appeal to your followers, especially ones who have been with you since the early days?

Schmier: We have a great team together. Over the years we have been increasing the quality of the records. For this time, we took extra care that this would be a great album. We just had our 40th anniversary, so we knew that this album has to kick ass. It was a great process working on this. I realized during the process that this is probably the best lineup we’ve ever had. People may say, ‘oh no – it was better in the 80s’, I’ve done that, but it feels satisfying now in the studio the way that we work. Everything is conceived, the teamwork flows. It was an easy record to make because we came from tour, and we started writing. Even if people think thrash metal is very limited, we have a lot of fresh and new ideas on this album. If you compare it to the first Destruction album, it sounds different, but I was 17 on the first album and now I’m turning 60 soon so, we have a lot of growth and experience in between all those years.

For us it’s very exciting to still play thrash music. I just hope I don’t get tired of it, because thrash metal is my life.

Dead Rhetoric: Songs like “Scumbag Human Race” and “A.N.G.S.T.” definitely leave strong impressions through the lyrical content. Do you believe that social / political turmoil and thrash metal go hand in hand, especially in terms of the Destruction way of songwriting?

Schmier: They do. In times like this, I wish I would write about unicorns, drinking, women, and love. I have to write about this, it’s in the DNA of Destruction. We have a lot of crises going on in the world, and a lot of wars. It’s not nice to have a mirror in front of your face, but it’s in the Destruction DNA to write about these things. A lot of stuff that bothers me, it’s stuff that I see when I tour the world. I have to write it down – and it’s also therapy for me. I think about it; I scream it out. The best example is when we released the second single for the last album Diabolical, it was the start of the war in the Ukraine a few years ago. The song is basically a mirror of society. It’s too real. It is what it is. For Destruction, there is no other way.

Dead Rhetoric: Do you feel you become a voice for the people – the average person and the poorer people as well?

Schmier: Yeah. We get a lot of compliments for the lyrics. There are a lot of people that think alike. The biggest gift is when a fan can write to you to tell you that this album got him or her through a difficult time. I hear this a lot. There are people out there who care a lot about social criticism. We have a lot of fans in rather poor countries, it’s interesting for them to see somebody that lives in a rather first world, rich country like Germany, still has a lot of problems and sees them around the world. We are not ignorant, the way I see the world, I tour the world, and I talk to the people a lot, I go to a lot of interesting countries. There were even times during the Cold War when you would play in the United States and then go to Russia next. Russia and America seem to be best friends again. I have the privilege to see so much.

Just playing in Dubai, that was super interesting. What impressed me the most was the different cultures that live in this Arabian culture. At the show there were Russians, Americans, Arabian people, people from India, people from Germany – it was a crazy amount of people from all over the world at this show in Dubai. It’s something I love to see about metal. It unites the world – and you also talk to different people. It’s quite interesting what our leaders do, it’s not necessarily the opinion of the common people. Of course there are fanatics, but in general the common people don’t agree with most of our leaders. That’s something I see all around the world.

Dead Rhetoric: You pay tribute to Accept by recording your version of the classic Restless and Wild opener “Fast As a Shark”. What has this song, and this band, meant to your personally – did they give Destruction hope in expanding your appeal beyond Europe into North America, the Far East, and other continents / cultures through their success in the early 80s?

Schmier: Oh yeah. It was basically the first speed metal song of a German band in history. The riffing, the production, the song, the vocals, the solo part – oh my God. Even my punk rock friends at the time loved that song – they hated metal, they thought back then things were too melodic with too many solos. The intro, it makes fun of this German conservative, country music. It was a little revolution against our parents, against our society. We thought it was very cool that a metal band made fun of this. The song was one of the most important songs ever written from a German metal band in the 80s. To cover this was tricky – we could not do it any better, it’s a classic. We paid tribute and made it in the Destruction style.

We got a lot of good responses, that’s why we put it on the album. It was just supposed to be a B-side, the fans and label loved it. At the end it was a good idea – even Wolf Hoffman from Accept gave us the thumbs up. He wants to see us perform this live, so we’ll see if we put this in the set list one day.

Dead Rhetoric: I’ve read that the songwriting process has evolved within the band over the past three albums. Where do you see the major differences in this new methodology that benefits the overall final product we hear as listeners?

Schmier: The first big step was going back to a two-guitar lineup. When I write my songs, I know there are no limits. For so many years we had to compose as a three-piece. We knew live there would be limits. There are just certain things you can’t do with only one guitar. We had to stop at one point with the creativity. Now with two guitars, there are so many things you can do, and I have two very motivated players. They have great teamwork. It helps in the production and makes things grow. We always look back to optimize the production and make the songwriting better. We push the limits, and that’s a big plus. The guys have grown together, and there is a great vibe going on.

Dead Rhetoric: You’ll be performing some special shows this year celebrating Infernal Overkill as it’s the 40th anniversary of the release of this record. How is it to revisit the record in its entirety – what are some special memories you have of those early days that come flooding back to life?

Schmier: I was 18 or so when we recorded the album. It was our first or second time in Berlin, we were there for two weeks. It was overwhelming, everything – the studio, the recording, the first time hearing your songs with a good sound. We never thought that this album would go that far this many years later, it’s actually crazy. At that time, it’s a similar situation as now, the band was a strong unit. We believed in what we did, the songwriting process was very creative. I think its what a band needs to make classics. You need to believe in what you are doing and bring it to the table. This album is still there because it was early – we were one of the first bands from Germany to get signed back in the day. Of course, the early bird is a big plus with this album, not many bands in Germany played this kind of music.

As I look back, the songs are timeless – and that’s what I hear from a lot of the musicians. We still love to play them, and there are a bunch that have always been in the set list. They don’t sound old or dated. That’s actually a fantastic achievement, to be timeless is a good code word for this album.

Dead Rhetoric: Tell us about the Destruction documentary The Art of Destruction that will premiere soon in German cinemas that has been five years in the making – what was the process like taking hundreds of hours of footage and condensing things into this film? What do you hope viewers will take away from this output?

Schmier: At the end, I’m just in the movie, I didn’t make the movie, We had a director team that was behind the movie, they approached us and asked if we wanted to do a metal movie. We are a historical band; I thought it was interesting so let’s do it. I didn’t know they were going to film us for five fucking years! (laughs). But then also there were some problems that came in between: COVID came, Mike left the band. All the drama is in the movie, which makes the movie better. The director said so at least. For me, there could have been a little less drama, but in the end, in years it’s going to be a great look back in time. I did a lot of records, and all the records are special – but a documentary movie, you maybe achieve once in your lifetime.

It comes out in the cinema – and I just talked to my mother, she’s 86 now, she’s still alive. She will come to the premiere here in our hometown, and it’s going to be cool. You could have never imagined this even ten years ago. It’s a great thing; we are hoping that the directors and film crew can also bring this into the streaming channels so people can watch this all over the world. We have more cinema screenings – it will start in Germany, but we are hopeful to get this all over the world, in cinemas around the world. It depends on the interest – in big cities there may be a chance to screen it. Later this year, we will also do a DVD and a Blu-Ray, so the collectors can buy a physical copy. We will be busy with the movie throughout the whole year – as we have an album promotion as well, it seems like things will take longer. It’s more stressful because of the cinemas and the distribution. I’m not as involved in this because I’m not a movie maker, but I’m doing all these interviews now and it will be interesting to dive into some new scenery.

Dead Rhetoric: How proud is your mother of your accomplishments with Destruction?

Schmier: My father hated what I did. My father died very early, so he didn’t see the success of the band later. My mother always supported me, and that was actually difficult because we had our own business, and my parents wanted me to take over the business. I didn’t want to do it; I wanted to play music – and my mother was never angry with me about that. That was a big help, especially in the early days when it wasn’t easy, and my father hated it. He didn’t talk to me until his death – he was so embarrassed about his son, and it’s kind of sad. My mother always supported me, she went to a show when she was 83-84, she is not so good on her feet anymore now. I think going to the cinema will be okay, but she went to a metal show, and she was proud. The kids came to her because they heard that she’s my mother, it’s nice when the circle closes, and she gets some appreciation back.

Dead Rhetoric: In a recent video interview I saw online, you mention that when you go to the gym or are in your car, you still enjoy a lot of the 80s classics from Judas Priest and Metallica. What would you say are three of your favorite albums of the New Wave of British Heavy Metal era that still excite you today?

Schmier: There are a lot of them. I just rediscovered some albums from that era – Tytan the first album Rough Justice is a classic, it was recently reissued with more songs, bonus tracks. I’m the biggest Judas Priest fan, but I like the underdog bands too like Tytan, Jaguar, Angel Witch, they were big faves of mine. Three albums – Unleashed In the East, because that’s the album that brought me to metal. And then – Tygers of Pan Tang – Spellbound, that was a very important album for me. The third album should be a total underdog – maybe More – Warhead. It’s the album of the first Iron Maiden singer, Paul Mario Day. He made only one album with More and then he left the band for his other band Wildfire, they are also amazing. The production is not so good, but the songs are killer. He never made a big career. This is the stuff I rediscover because there are reissues and these albums are also available through streaming. When you get older, you start to appreciate the roots of (metal) more and more. I like a lot of punk rock from those early days that I still love to listen to.

Dead Rhetoric: Are the performing arts programs important in Germany today – or is it a struggle to give younger people this outlet for expression beyond the conventional sports teams that may develop?

Schmier: A good example of a proper program is in Scandinavia. In school, the kids get supported when they have interest and talent in music. Not just in sports like it is in America. That’s why there are so many great bands coming from Sweden, and Scandinavia in general. Very early on they learn how to play instruments, and they develop a lot from music and their appreciation of music. It’s supported not just by parents; it’s supported by the government with music programs and money. In Sweden there are only 7-8 million people for a country, but they have a love for music. Germany is not like that. It’s very difficult for the kids to get into music. On the conservative side, in the little, smaller villages, there are some local music bands. You have a chance to grow into the bigger bands and be a part of the community. But this can be dated, they want kids to learn the trumpet, and the kids don’t want to learn that instrument, they want to learn keyboards, guitar, and drums. It’s not supported, and that’s a sad thing.

The big plus nowadays is that people can go on YouTube now and check out music. Check out drummers and guitar players, and on Tik Tok with modern social media, there are a lot of good musicians showing off. It gets the interest also of the kids – but it’s not supported. Support for arts in Germany is pretty poor, I would have to say.

Dead Rhetoric: What do you believe the average person takes for granted about life that maybe they should invest more time and energy into?

Schmier: We invest too much time into the internet. It’s a big problem. Guys like you and I, who grew up in both worlds, we know how it was back in the day. We try sometimes to take the phone away, or the computer – but I also see because I have to work on the internet, I’m getting too addicted. It’s a fast way to communicate and to reach the fans. The downside is we don’t know yet. Especially the kids, it doesn’t matter where I go, in the city, in the gym, everywhere people are just staring at their phones. What kind of damage will this do to the brains of kids that are still growing? Also, physical damages with your neck. The way humans developed to stand up, we are going to go back down and have weird necks in the future because we are just staring at our phones.

The internet is a blessing of course, because it unites the world in many ways. But also, on the other hand, there are down sides. When I am old, I may condemn it as spending too much time wasted in this plastic world. The real world is a totally different experience. People live more in their phones than in the real world- it’s their distraction out of the real world; you dive into it when you can.

Dead Rhetoric: How have you personally adapted to the changing technology, especially with the tools at our disposal through AI? Do you have any major concerns going forward?

Schmier: Humans have no borders, they want to develop, they want to make money, they have no shame. They will squeeze everything out of AI that is possible. For me, there are some good sides about it. When it comes to art there are also some interesting sides about it. To lose control over AI, it’s very dangerous. Everybody knows the film The Matrix or even The Terminator movies, when we see that computers can overtake what happens. Maybe it’s good that they overtake things when the human side is too destructive and they can bring more sense into our lives, more peace, more sharing, more caring. I’m not sure about that. It’s a little scary to see that a lot of people might lose their jobs. On the other hand, AI can also help in a lot of other terms. In medicine, development, logistics – so we have to wait and see. We have to control it; no control is no good.

For us when it comes to art, it could be dangerous. Art should always be unique. AI can never be unique – it just steals, hordes, and displays things again. Every technology has its downside, but I think AI will bring a lot of good stuff to the world.

Dead Rhetoric: You have a two-year touring plan to support this record – can you outline what you hope to accomplish?

Schmier: We want to be able to tour for a long time. We have discovered some new countries that we played on the last tour. There are a lot of countries we couldn’t play anymore, it was difficult to go to Australia, and those will be the big dreams to go back to those countries. The fans are very supportive there. There are a lot of countries you wouldn’t see if you were not a musician, it’s a gift to go to Japan, Australia. If I would be a normal working guy, it wouldn’t happen. I love that side of the band, that we can travel. I don’t know if we will be able to come back to America. We were supposed to go back to the states in May, the visas are a big problem. It costs double at the moment, and they take longer to get – up to four months or more. You don’t know if there are enough people working to process these visas, there could be new rules about immigration. We cancelled those shows and we don’t know when we will come back.

American musicians can come to Europe and don’t need a visa – you can just come and play and make money. We have to come to America and pay $8,000 for our visas. In that term, I hope we can come back to the states as we love to play in America, but the future is uncertain. We will think positively, hopefully do a long tour, and come to those countries that we haven’t played to in a very long time. And discover some new ones.

Destruction official website

Destruction on Facebook

Edge of Paradise – Prophecy (Napalm)

Katarina McGinn
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Edge of Paradise – Prophecy (Napalm)

The epitome of working your way up to the top, Edge of Paradise have been making their foothold within the scene for well over a decade. Their last album, Hologram, was released back in 2023 and saw them continuing their unique combination of industrial and cinematic approaches to modern metal to the point at which vocalist Margarita Monet was able to design a graphic novel centered around the album. Prophecy follows the anticipated footsteps of said album and sees the band continuing to grow their sound in a way that’s both massive and fun.

As it has been, Edge of Paradise’s sound sits in it’s own spot. Sure, it’s modern metal if you want to put it that way, but the industrial meets electro-metal done in a theatrical/cinematic flavor is one that fans can quickly recognize, alongisde Monet’s identifiable voice. The bombastic yet arena-rock based grooves of “Rogue (Aim for the Kill)” is a good example of the dynamics at play in their music. Thick, industrialized riffing merges with playful melodies and soaring hooks in a way that is sure to get you moving to its driving energy. “The Other Side of Fear” all but jumps out of the speakers with it’s electro-dance forward rhythms coupled with fiery riffs. As a track that’s as danceable as it is heavy, it’s a quick highlight. To the cinematic end, “Relive Again” sits as a towering piece of atmosphere. It’s movie theater level synths sweep around the band, and Monet shines with some belted moments that really showcase how powerful the band can sound (particularly with the implementation of the 8-string this time around). But even in more restrained moments like the poignant “Hear Me,” there’s something genuinely moving about the way that they bring you on a journey with their music.

From full-stomping energy in “Give it to Me (Mind Assassin)” to the thrilling and dark melodies of “Sad Life of a Rose,” Edge of Paradise continue to walk their own path forward through modern metal. Prophecy is full of cinematic vision, danceable melodies, thunderous riffs, and soaring vocals that never forgets that it’s still important to have a good time as well.

Edge of Paradise on Facebook
Edge of Paradise on Instagram

Serenity in Murder – Timeless Reverie (Apostasy Records)

Daniel Barkasi
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Serenity in Murder – Timeless Reverie (Apostasy Records)

Japan is a treasure trove of unique musical artists who defy convention and incredible musical bravery, not allowing genre labels to define who they are. Here at DR, Katarina explores many fine acts who exemplify this, and my senses are absolutely aligned, though her knowledge is beyond mine in the burgeoning Japanese scene. Nevertheless, there are a number of acts whom these ears have been following for quite some time, hoping they eventually get their well-earned due plaudits. Near the top of that list are Tokyo’s Serenity in Murder, who melted my brain with their furious The First Frisson of the World in 2011, holding our devout attention and esteem ever since.

When original vocalist Emi departed soon after the band’s third record – an immense effort in The Eclipse – we admittedly feared the worst. However, successor Ayumu proved on 2021’s Reborn that she was more than up to the task, putting a definitive stamp on the band’s searing, symphonic, melodious black/death amalgamations that took them to another level of sonic achievement. Since, the band wisely joined forces with German-based Apostasy Records, followed by a trickle of singles, including a robust re-recording of “Infact Bellum” from their previously mentioned debut record, as well as a few tracks that would make their way onto their eagerly anticipated fifth full-length, and today’s primary subject, Timeless Reverie.

Serenity in Murder waste zero time (pun intended) in unleashing a serotonin rush of enormous riffs and grandiose symphonics via “God Forsaken” – a track that encapsulates everything that the band is about in a compact, furious package. Vocalist Ayumu’s snarls and roars emit intense dynamism of which are wholly unique, continuing to give the five-piece a defining characteristic that few other acts of their ilk possess. “Matrix” keeps the momentum moving ever forward; highlighted by guitarist Freddy’s soaring clean vocalisations amongst scorching guitar duels alongside his axe-wielding partner Ryuji. Spoken word passages and choirs add to the synth-driven, high-energy “Blue Roses Gracefully Fall” – the solo leading into that bombastic conclusion is inspiring – whereas pieces like “Never Defiled” delve deeply into their melodic death roots by way of a typhoon of guitar harmonies and crunchy riffage.

Giving a slightly differing purview is “A Dance of Sorrow,” driven by lush keys awash with memorable guitars and the thumping rhythm section of bassist Yu-ri and drummer Allen. A very Eternal Tears of Sorrow-esque composition, focusing on gobs of downtrodden melody and a mid-paced tempo that serves the song and the album well. “The Flames Ablaze” emits plenty of focused guitar work and a certain admirable swagger ala very early Children of Bodom without mimicking the legendary Finns. Notable is a re-recording of what’s this writer’s favorite Serenity in Murder track – “Noticed This Is the Betrayal” from their 2015 sophomore album The Highest of Dystopia – that serves as a fitting and well-executed revision, allowing Ayumu to put her own signature on what’s an undeniably infectious composition. This track is sandwiched between two beautiful instrumentals to close proceedings; “Past: Timeless Reverie” and “Hope: Timeless Reverie.” The latter sticks out the most; a soothing, hopeful entry that ties together the album in an unexpected, but no less apt fashion.

To anyone who has been in the Serenity in Murder supporters club for as long as we have, it’s perplexing how a band with such nailed-on songwriting prowess and easily alluring sound profile hasn’t gotten more attention. We hope the association with Apostasy pays off in more ears being turned towards a band that have long since earned their place at the top of the heap of melodeath-adjacent artists, with a seemingly unlimited knack for creating virulent, enduring music. Timeless Reverie is a fantastical record by a band who have again exceeded expectations, traversing their own path with gusto. There’s no band who quite sound like Serenity in Murder, and after all these years, we’re overjoyed that they’re still pushing the boundaries of their chosen approach.

We’ll end on a little anecdote – the wife and I almost caught them live in Japan back in 2016, but they played shows that were a day before we arrived and the night of our departure – a miss that still stings to this day. Here’s to hoping Serenity in Murder keeps going for some time, as they’ve got plenty yet to offer, and selfishly, there will be no serenity in this writer’s brain until we see this magnificent band in a live setting. For now, Timeless Reverie beyond satisfies; an album that we surmise will be in heavy consideration for accolades once we get towards that thing known as year end.

Serenity in Murder on Facebook

Avulsed – Phoenix Cryptobiosis (Xtreem Music)

Matt Coe
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Avulsed – Phoenix Cryptobiosis (Xtreem Music)

One of the longest running bands in the Spain death metal scene, Avulsed may not necessarily be as prolific as say Cannibal Corpse or Unleashed – but it never diminishes the quality product consumers have enjoyed through the decades. Phoenix Cryptobiosis is the eighth full-length, coming nine years after Deathgeneration – although a live album, a series of singles and a boxed set kept interest in the group during the interim. A new lineup shakes things up for mainstay vocalist Dave Rotten and recent recruit drummer Santi ‘GoG’, as last year saw three members step down due to lack of interest. To say this is a pivotal change is an understatement – but have no fear, you can still expect the quintet live for quality death metal songwriting sure to lacerate limbs in its savage approach.

The guitar team of Victor Dws and Alejandro Lobo possess a multitude of strengths when it comes to main rhythms, dual guitar nuances, and transition abilities that keep your interest. Occasional dissonant chord progressions sit next to mid-tempo deadly passages, making the adrenaline-fueled “Lacerate to Dominate” as well as the twisted title track early favorites – the former cut also featuring some outer limits bass phrasing from Alex Nihil that builds tension in the exotic atmosphere of its instrumental sequences. D-beat drum rolls take “Devotion For Putrefaction” into a punk meets death template, Dave Rotten rapidly spewing his verbal atrocity in his lower growl mannerisms, much like classic Cannibal Corpse or Suffocation, the lead work a seamless blend of arpeggio speed picking next to some slower, bluesy phrases. Injecting slightly melodic touches or consistently switching up tempos in the construction of these songs takes tracks like “Dismembered” and “Unrotted” into that upper echelon territory, the ideal diversity necessary to maintain full interest from front to back on this record. Most will appreciate the nod to thrash mavens Slayer in the opening guitar chords for “Bio-Cadaver”, Dave once again switching between his lower growls and more of a rabid screaming context to convey the urgency in the music.

All who enjoy death metal, especially the roots of this movement, will have no problem devouring Phoenix Cryptobiosis. Let’s hope that with this new lineup now in place, we don’t have to wait another nine years to be ripped to shreds through Avulsed’s songwriting.

Avulsed on Facebook

Cryptosis – Celestial Extremity

Katarina McGinn
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Cryptosis – Celestial Extremity

Returning after their 2021 debut Bionic Swarm, it’s been four years since there’s been a proper Cryptosis album. There was an EP in the meantime, but the time makes for an interesting change of dynamics in the Cryptosis camp. Celestial Death, their new album, aims to bring in more atmosphere and more of a cinematic feel compared to their debut. While they still flex some tech muscle, it’s a more well-rounded effort that pulls from an even more broad realm of influences in extreme metal. We spoke to the band’s bassist, Frank te Riet, who also does the mellotron and synths, about the upcoming effort. We discuss plenty about Celestial Death, as well as his hobbies outside music, goals, and dividing up duties as a three-piece act.

Dead Rhetoric: Looking back at The Silent Call, do you feel it accomplished what you wanted in terms of getting you out on the road without having to do a full album?

Frank te Riet: Yeah, we got the opportunity to tour with Cynic and Obscura and we were already writing a new album. But we felt it was a good opportunity to test it in a live setting and have some product for fans we meet on the road. So it was more of an in between step. I think it did pretty well and it turned out good. The video clip was watched many times, so it went well.

Dead Rhetoric: How do you feel that Celestial Death compares to your debut?

te Riet:The debut album was showing off tech side with the guitar and drums. It was a collection of some really intense riffing. Celestial Death is more melodic, it has more room – the guitars aren’t the dominant instrument on the album. It has more atmosphere.

Dead Rhetoric: How did having the same team this time around aid the sound for this album?

te Riet: We already knew what to expect from them and where everyone’s strengths and weaknesses were, so we could anticipate them. We also have a really good engineer here in the Netherlands, and he’s good friends with us and he has known us for 10 years so he can really push us and get the better takes than we can get with anyone else. We had quite a good team and we were really happy with the results of Bionic Swarm and the performances, so we felt like we wanted to do it exactly the same way as last time. We had it mixed in Sweden and they have some really good feelings for atmosphere. They are on a different level, for at least here in Europe. It’s a really nice way of working with Fredrik [Folkare], he’s a really relaxed dude and very easy-going. So at first, it was really nice and just as nice the second time as well.

Dead Rhetoric: You mentioned the first album was this collection of intense riffing. With Celestial Death, how much emphasis was there to make it feel like more than that this time? 

te Riet: Bionic Swarm was mostly written by our guitar player, Laurens Houvast, and this time it was more written by me. I cannot play this kind of stuff on the guitar. I can play a decent guitar, but not that shit [laughs]. So I had more of my own fingerprint on the music. I wanted to have more room for choirs, mellotrons, and synthesizers. I wanted to give the music more depth and melody instead of everything going at 100 miles an hour every second of the album.

Dead Rhetoric: How do you try to incorporate a more cinematic feel into the music without having it take too much away from the more metallic side?

te Riet: It’s a tricky line. Sometimes you overpower it, but we have different areas. Marco [Prij] is more old school and he is the person who says that we are going too far and to take things back a bit. To give it a bit more rock n roll. Or to give the choirs more room or focus on the guitars in a part. We have different people working on the music in the band but on totally different levels. It’s a good way of working on it.

Dead Rhetoric: Is there anything you can say about the artwork for Celestial Death?

te Riet: We had the demos of all or most of the songs and we sent it to Eliran Kantor. He has worked for so many big bands, we trusted him and gave him the general idea of the lyrics and gave him the demos. It was not a finished product but we had him listen to it and come up with his own interpretation. That’s what he came up with in the end.

Dead Rhetoric: You’ve done a bit with sci-fi lyrics in the past. What made you decide to add a more personal touch this time?

te Riet: We wrote a lot of the stuff during the pandemic, and it was a weird time for everyone. Also, it makes you wonder where the world is going and what is your place in it. So when I started writing the lyrics for this album, I thought maybe the first album didn’t feel very personal even if they were personal stories. They were made up stories from personal life, but this time since the music had so much drama and emotion, I wanted to connect that to the lyrics.

Dead Rhetoric: Do you have a song or two that you are really proud of?

te Riet: I think the song “Faceless Matter” is really nice. It talks about your identity. Like what is your identity in the modern world, you get the information from the same media companies, you buy the same clothes from the same stores. Everyone is programmed to be the same. Whether you find your own identity, I think it’s a nice song in terms of lyrics. It doesn’t have too many lyrics in the song, but I think it’s really good, being able to think about the world right now.

Dead Rhetoric: How do you divide the duties between the three of you?

te Riet: I do most of the creative stuff. Laurens does a lot of the webshop and financial stuff. Stuff he is really good at. Everyone has totally different musical backgrounds and influences. It makes us a weird band because Marco has a lot of old school influences like AC/DC and Motorhead. He likes more straight-forward stuff, but he also likes things like Porcupine Tree and more progressive stuff. Laurens is more into Symphony X and Opeth, the more guitar-oriented music. I’m more into black and death metal, but a lot of electronic music like Massive Attack. If you blend us together, it’s got a bit of weird DNA. We don’t really belong to any particular scene. But everyone puts their own unique identity on it, and it is what makes us interesting to listen to. It’s also impossible to switch members for someone else. The whole band would change.

Dead Rhetoric: It does seem like Cryptosis has a sound that feels like extreme metal but it’s hard to pigeonhole it beyond that, which is a good thing.

te Riet: It’s a double-edged sword. It’s hard for booking live shows. In every festival, we are the weird band, so to speak.

Dead Rhetoric: What is most appealing to you about playing extreme metal?

te Riet: It’s a sound, when you listen to this music, that you can imagine all kinds of things. It can be playing in your mind. With death metal, it’s more in your face and black metal is more mysterious. It has more room to interpret your own thing. I think that’s what it does for me. You can listen to music and your dreams will interpret it.

Dead Rhetoric: What sort of goals do you have for Cryptosis?

te Riet: We really want to get out of Europe. We are actually going to Latin America to tour in July. We really want to go to America. We have had some offers but nothing really worked out. It was either too last minute or financially not possible. It’s pretty high on my bucket list. We’d like to go to Japan too. We want to do these if we can manage it. We want to record more albums and explore things we are doing now and dive deeper into it and see where it leads.

Dead Rhetoric: What do you enjoy doing outside of music?

te Riet: I collect a lot of music: vinyl records and cassette tapes. I like to go mountain biking, I do graphic designing too, which I freelance. I mainly stick to music.

Dead Rhetoric: What’s planned for the rest of 2025?

te Riet: The Latin American tour is in July. We are going to do a really big release show here in our hometown on March 29 and follow it with a European tour. Then we go to Latin America and then in the fall we are going to try to go to some territories that we have already had some success in and try to expand upon that, like Greece and Spain. We will also try new territories this time like Sweden and Denmark. Just trying to expand and I hope we can try to arrange something for America.

Cryptosis official website
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Whitechapel – Hymns in Dissonance (Metal Blade)

Katarina McGinn
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Whitechapel – Hymns in Dissonance (Metal Blade)

Coming off of two albums that saw the band evolve in more melodic senses, Kin and The Valley, Hymns of Dissonance is a jump back into pure adrenaline. But thankfully, one can’t simply use the term ‘return to form’ or ‘throwback’ with the release. Four years removed from Kin, this isn’t a ‘return to our old school ways’ type of album either, as it appears to have captured the band’s continued growth on the heavier end of the spectrum, and has taken it a few steps farther. In short, it’s pummeling but it’s never easily forgettable.

Released cuts “A Visceral Retch” and the title track showcase the brutal blend of extremity pretty well. There’s certainly nods to the band’s deathcore upraising and early work, but also incorporating more straight up death metal into the mix. From raging blastbeats to rumbling breakdowns to sinister melodic leads, there’s a good range of tempos and tactics to keep one’s interest. “A Visceral Retch” showcases some extra emphasis on groove along the way, and some admittedly brutal vocals. Those two tracks show quite a bit of the album’s range, but if there’s one track that stands out among the pack, it’s “Hate Cult Ritual.” It’s a visceral, blast-driven effort that charges ahead with unrelenting aggression. While there’s a nice melodic solo and repeated hook-y harsh vocal lines, it’s a real adrenaline rush.

For all of it’s primal fury, there’s some more subtle nods that help keep things exciting. “The Abysmal Gospel” succeeds in creating gritty mid-tempo stomping riffs and some blackened atmosphere when it speeds up. Toss in some slower, melody-driven moments and buzzing, almost grindcore assaults and there’s a number of different points you can drill down on. “Mammoth God” has the most melodic and brooding opening of the bunch, setting an eerie atmosphere before it unloads into blastbeats and later thunderous chugging. Final cut “Nothing is Coming for Any of Us” may have some absolutely crushing breakdowns to be found, but there’s also a really emotive melodic lead and solo that ends the album that is a striking way to exit.

Being in the camp that quite enjoyed the swerve the band did with the last two albums into more progressive territory at times, Hymns in Dissonance doesn’t feel like a step back. While that progressive side isn’t there in a literal sense, the music itself is full of visceral and subtle energy that keeps each track interesting, and the adrenaline rush the songs provide are bound to attract the attention of those seeking something abrasive. That said, what keeps the album afloat is that there’s more to it than the surface level attack, which is bound to bring fans back for repeat listens.

Whitechapel official website
Whitechapel on Instagram

Chemicide – Violence Prevails (Listenable Records)

Matt Coe
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Chemicide – Violence Prevails (Listenable Records)

Literally a hotbed in the metal realm, Latin America has been producing some worthy domestic acts that deserve the attention bestowed upon them. Costa Rica is home to Chemicide, a thrash metal band with an EP and four albums to their credit (this scribe giving 2017’s The Act of Retaliation kudos in a Rapid Fire column on this very site), building things up in the old-fashioned, DIY way. Picking up interest through Listenable Records, Violence Prevails as the latest recording should be a momentum builder as the quartet looks to solidify a presence beyond known territories into the international landscape.

The eight original tracks keep things firmly sharp in that crossover/hardcore meets classic Teutonic/Bay Area thrash mold. Opener “Do As I Say, Not As I Do” may start off relatively slow in its riffs/tempo, but soon the aggression, gallops, and speed take over as neck strain becomes obvious, the vocals barked out in a Power Trip meets classic Sepultura matter of fact delivery. The guitar volleys in rhythms between Frankie and Sebastian sustain interest on first to subsequent playbacks – forceful with just the right amount of chaotic to melodic spirit one hopes for in this style. Experienced musicians know when to fluctuate the instrumental sections to shift tempos and atmosphere, setting the stage for the next whirlwind passage of heaviness. Destruction guitarist Martin Furia handles the mixing/mastering duties – ensuring a full sound where every instrument has its proper placement, the bass attacks equally as the guitars, and the additional narrative elements make sense next to the songs. Traversing classic crossover into contemporary output for “Systemic Decay”, you also will be blown away by the sheer intensity next to rabid word spew on “Chokehold” and be enthralled with the acoustic, classically laden touches that make “Scalped” a progressive, twisted outing when it kicks into high gear.

Digital and CD versions for Violence Prevails feature two extra covers – including the title track of Metallica’s last studio album 72 Seasons that works better to these ears thanks to Frankie’s impassioned vocal cries. Chemicide possesses the right balance of energetic thrash next to some solid hardcore/punk mechanics to elevate themselves across the globe based on their understanding of this genre, putting together a record that rocks.

Chemicide on Facebook

Chemicide on Instagram

Echos – Quiet, In Your Service (Outlast Records)

Katarina McGinn
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Echos – Quiet, In Your Service (Outlast Records)

Sometimes, music by definition isn’t exactly metal but the feelings you get from it certainly are. Such is the case for the new Echos album, Quiet, In Your Service. The (mostly) gentle and darkwave-y sound doesn’t have too much in common with metal from a sonic standpoint. But the genuine melancholy and hard-hitting gloom should put it squarely in the sights of those seeking something more on the melodic end of things that carries a raw, emotional punch.

Vocalist Alexandra Norton sits at the center of this release, with some songs relying solely on her voice to carry the emotional weight, accompanied by some quiet electronic arrangements and listening to the album as a whole takes you on quite a journey. From the descending whispers of the intro track “Mariposa” it brings you into this dark and moody feeling, and “Carousel” adds murky electronics that ebb and flow, with Norton’s vocals all but floating in mysterious and enticing atmosphere. The title track acts as an emotional gutpunch with lyrics that address the push/pull of staying in a toxic relationship in raw sincerity. “Bruises” and “Over & Over” elevates the energy level into something more ‘heavy’ at times, offering more direct hooks, particularly “Over & Over,” where visceral riffs hit hard in the chorus, providing an almost hypnotic groove that amplifies the emotions of the poignant track.

“Papercuts” begins to showcase a change in mood from the despair and straight-up helplessness some of the earlier songs provide. There’s almost an angry side that starts to rise through to the surface as it progresses. But “Wires” takes that anger and melts it into yearning and self-reflection. It’s a very gentle track with minimal instrumentation outside of Norton’s vocals, and it’s a very powerful and haunting in tone. The album ends on a more upbeat and ethereal note with “Tolerance.” The vocal lines sound healing in tone and it leaves on a very strong, resilient note. Or you can let it loop and it gives a different meaning as to how easy it is to slip back into the darkness.

Beautiful, heart-wrenching, and powerful all describe how Quiet, In Your Service feels as you listen. Echos provides an emotional rawness that isn’t easy to portray, and the journey this album takes you on a hard-hitting trip. Norton’s vocals are a powerhouse, showcasing a range of emotions that well up from within, and will resonate with listeners for long past when the album ends.

Echos on Facebook
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Edge of Paradise – Holographic Prophecies

Katarina McGinn
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Edge of Paradise – Holographic Prophecies

Edge of Paradise has been working hard to make a name for themselves in the scene for over a decade now. They’ve toured with some big names, utilized unique strategies with art and merch, and recently made the jump to Napalm Records for their latest album Prophecy. Continuing their unique industrial/electronic approach to metal, it is poised to give them their next big push. We spoke with vocalist Margarita Monet, who discussed all of those topics above with us, as well as a look back at Immortal Waltz, creating art and graphic novels, and even some thoughts for her ideal headlining tour set designs.

Dead Rhetoric: What were your goals in writing Prophecy? Were there any ideas that you were eager to try or things you specifically wanted to avoid?

Margarita Monet: From the past albums, I actually had the story already going, so I was actually pretty excited to make this one because I released the graphic novel for the last album, Hologram. It ended on a cliffhanger so I had to continue it. What’s funny is that I have been thinking about this because I have been talking about the album a lot lately. I realized that with Universe, which we released in 2019, we started talking about artificial intelligence and putting the world into these futuristic settings. It was kind of there, but it’s not like how everyone is talking about AI now. It’s such a big part of our lives now and it’s just going to keep expanding.

So it’s kind of interesting to see how it mirrored what was going on in real life. We have Universe, and then The Unknown, we have the song “Digital Paradise,” where we brought up the idea of living forever through digital existence. I left it up to the listener to decide whether it’s good or bad. Then with Hologram, we painted all of these implications about what could go wrong, but still, the technology could be so cool. In Prophecy, I kind of take a stance that’s the ultimate standoff between consciousness and artificial intelligence, which is kind of where we are right now.

Dead Rhetoric: As you have seen your songwriting come to light, do you ever pull any ideas from where we are at now, as a society?

Monet: I think just living in the world and experiencing and going through stuff, it kind of seeps through the music. I think I’ve always been a bit removed from reality. I love to really just make songs and create my own world. But still, I’m here so I am experiencing. I’m creating another version of myself, for people to be a part of if they would like. I think naturally, I do draw inspiration from what is going on and how I feel about it, but in my head, I’m creating this thing. Consciously, I’m not talking about things because they are going on right now, I have my own storyline going.

Dead Rhetoric: This far into the band’s history, what do you feel are the elements that make up the sound of Edge of Paradise?

Monet: I think the cinematic elements, the songs start with strings and keyboards, so they sound a lot more cinematic. Then we start adding guitars and bass and drums and the rock/metal elements. I think it’s the merger of the two. When we started the band and I met Dave [Bates], it took a number of years to figure out how we could merge our backgrounds. I am from a classical world, he’s from a metal world. It took a lot of time to really evolve our collaboration. Over the years, the music just evolved naturally. On this album, we have a new member, who played an 8-string guitar which added a lot of dimension to our sound. I would say that what it feels like is a mix of cinematic and the dynamic elements in the music. It takes you on a ride. It’s very epic, but then it’s soft, then it goes like crazy. It’s an experience!

Dead Rhetoric: That’s kind of what you want nowadays. You can’t just make music, you have to make it something more…

Monet: I have always liked that. I have always radiated to that. I didn’t really listen to much rock, as I wasn’t exposed to it. But I heard an orchestra do a rendition of Led Zeppelin’s “Kashmir,” and it was so epic. It was a huge orchestra doing all of those melodies and riffs, and I loved it. I love music that really makes you feel and experience something. One of my favorite soundtracks is from Requiem from a Dream. There’s such a simple melody but it just tears your heart out. That’s what I gravitate towards and the music that I would like to make.

Dead Rhetoric: You mentioned him already, but could you discuss your continued collaboration with Dave Bates over the years with the band?

Monet: I think it’s just making music. What I can say is that every time we have to make an album, we never say, “we need to make it sound like this.” I think we had to follow where the ideas were leading us, then I started exploring more sounds on the keyboard and going towards putting more of those cinematic, industrial, and electronic elements in just because it sounded cool. So I explored that aspect more, and the music naturally evolved. We have a really good system now. We know how to work together. Before, we would take it more personally. Like, “your guitar solo sucks,” and we would argue. But I think it comes from creating a lot together.

Dead Rhetoric: Your outfits for the videos have had a very futuristic vibe. What sort of considerations do you give to clothing when it comes to videos and stage. Does that aesthetic have an importance to you?

Monet: For me, yes, because first off I really love any chance I get to play dress up. I like that, and I have always wanted to not just be larger than life in anything, but just kind of step outside of reality in whatever I am doing. For me, it’s dressing up a bit extra for the stage that fits the music. It seems natural to me and it’s exciting to figure out what I can wear. Some outfits I create myself or customize them, or I find other really cool brands/designers that make unique clothes. To me, the band isn’t just music. It’s everything. The art, the videos, the live shows, the outfits, I think it all goes together and creates a whole world. For example, in Star Wars, you have to wear what those people wear on that planet, because what else are you going to do [laughs].

Dead Rhetoric: You’ve got journals this time around as a merch item, as well as a statue. Edge of Paradise has always had outside the box ideas when it comes to merch. What have you found to be some of your best ideas, in terms of fan-directed merch?

Monet: I really like to create with my hands. I think any chance I get to be creative, I try to take it. So it started with Universe, when we started to do limited edition packages. I made these boxes. Someone gave me…if you know Fabio, the model from the ‘80s, he was at a show and all of a sudden he was like, “I bought a bunch of gold coins, and I don’t need the cases anymore,” so he gave me a bunch of really cool wooden boxes. Of course without the gold coins. So I painted the top and then put the cd inside with some necklaces and whatever else I could stuff in there. People loved it because it was something unique. That’s how I started to incorporate more art. I started paintings for each song, I released an art book, and it started to go into that direction. I think anything with art, people really like. I tried to just evolve and incorporate art but also change it up a bit.

For me, lyrics are so important and I put so much thought into every word, so if I can make something that has lyrics in it, that will make people read into them a little more. That was the idea with the journal. Also, I want to inspire people to write more. We are so reliant on technology. It feels really good to just pick up a pen and write. I gravitate towards anything that looks ancient [shows journal]. The pages are so thick. It’s broken in half. The first half is all of the lyrics to the songs, and the second half is for the people to write their own stuff. I put different notes for people that might inspire them throughout. It’s interesting.

Dead Rhetoric: It’s a really cool idea, and I had no clue it was that big! You don’t see that level of connection to the music and merch everyday. It’s something that you have been able to really do a nice job with. Speaking of that connection, where did the idea come from to do the graphic novel?

Monet: I wanted to expand more to the story. I’ve always been interested in science and the futuristic elements of things. I feel like these days we are on the brink of science fiction almost. With the story, I wanted to almost write a possible reality, years into the future and just dive deeper into each song. The way it’s structured in the graphic novel is that each chapter is a song from Hologram. When I make songs, I have such a deep storyline inside my head. With the lyrics, you can only say so much. So I wanted to write a story that really tells people what goes on and the concept behind it. The graphic novel story itself is sci fi, it’s not like I’m telling my personal life story. But within the chapters, it’s inspired…people could get hints about what I went through or what I think, all of that stuff. It has a lot of me in it.

Dead Rhetoric: So there is another graphic novel that has a pre-order for April. Are you going to continue along with graphic novels as you write music?

Monet: I really want to! I love the story I have in my head. I think on tour, I’m going to write, or hopefully try to. I want to keep the story going. I’m excited. This album, honestly, I still can’t believe that we finished it and it’s coming out. I’m still in the mindset that we have to finish the album [laughs]. We were so rushed with everything that was happening, we made the transition between labels and we are super happy to be on Napalm now. But we had the tours and we had to make a record, and then more tours and videos.

Dead Rhetoric: The last album just came out in 2023…

Monet: Yeah, that’s true. It’s partly due to the label switch. We have always tried to release albums consistently, but this time we nudged more by having a new home. But it’s good. I’m glad that we have a reason to keep pushing. I think we kind of thrive on that, honestly. The challenge and the obstacles.

Dead Rhetoric: So you have the graphic novels. Would it be a passion project or something to put it into another form of media, like anime or movies or something like that? To go to the next step with it?

Monet: I would love that! It would be really cool. I have a lot of vision and dreams. It’s really important to me that all of our videos have that cinematic element to them. I want to keep expanding and keep growing the band so that we could go into different media.

Dead Rhetoric: Discuss your creativity in terms of art. A lot of it is interconnected with the art. Do you find it to be an extension of songwriting/lyricwriting?

Monet: Definitely. I think it helps me write songs when I am working on them. I have always been more visual. I imagine these scenarios and worlds and colors and stories. It helps me to grow the song into what it becomes. For me, everything infects each other in the process. I get really excited when we make a song, and think about how we would make a video for it or the art for it. I get pretty wired about it!

Dead Rhetoric: Have you ever tried it the other way, where you make a drawing and write a song from it?

Monet: Not yet, but that’s a good idea. I’ll try that next.

Dead Rhetoric: You have been on a number of bigger tours in more recent years and will be back out on the road again soon with Delain and Xandria. What have you learned from continuing to tour at this level?

Monet: It’s been very inspiring to tour with bands like that. We toured with Amaranthe and Dragonforce. When we started Amaranthe was already on the forefront, sort of paving the way that it was possible for me to make the band into what I wanted it to. It’s very inspiring to now share stages with those bands.

Also, Symphony X. That was the first metal band that I heard, back when I was in college. I played piano, and Symphony X has those crazy keyboard solos. I’ve never heard anything like them. I was obsessed with that stuff! I remember taking walks and listening to Symphony X and wondering what it would be like to tour with them. It was a full circle moment to tour with them. I told them it was all their fault that we are doing this [laughs]. It is inspiring that we are in the same world now. Music makes me feel so good, because it’s a bridge between people. No matter where you are in the world, it connects us. I think it’s very important, music and art, it helps us evolve as humans. We express ourselves, and I think it should be nurtured more with kids, especially these days. Kids rely so much on technology.

Dead Rhetoric: Immortal Waltz turns 10 this year. What do you recall about that point in the band’s life?

Monet: That was the very beginning. We are such a different band now. We got to work with Michael Wagner on that album. He was so kind to us. We went to his studio in Nashville. He worked with Metallica and all of those big ‘80s bands. There was so much inspiration. I never really saw anyone love what they do as much as he does. Working with him and seeing him in that environment, where he was so excited about making noise. He would always say, “We are going to make noise today.” It was very inspiring and it really solidified with me that this was what I wanted to do.

I kind of fell into it meeting Dave, I never thought I would do a band at all. I was just trying to find my way at that point, but working with him and putting out a full album like that…with Mask, our very first album. I didn’t write any of the songs, I just sang on it. So Immortal Waltz was the first cd that Dave and I started working together on. It really solidified with me that I wanted to do this and inspired me to get on this journey. When I think back it just makes me smile. It was the very beginning.

Dead Rhetoric: You’ve done a lot of support tours, what’s your ideal visuals for an Edge of Paradise headline show? If no one was stopping you, financially, what would you want to do?

Monet: We recently got some LED screens so that a lot of the visuals that we have, so we can bring them on stage. But it’s nothing compared to what I want to do. I want to create an aesthetic on stage, creating the world I describe on stage.

For example, in the graphic novel we go through so many worlds, basically. Some are very volatile and there are a lot of colors like red crimson skies and jagged mountain horizons. I want to recreate that on stage. As the set progresses, going to this different planet where it’s like blue crystals and shifting sunsets. That could be accomplished with set designs and the LED screens. We actually use a lot of that in our music videos. It’s not that impossible to bring onto the stage, so it’s definitely in my vision. I would also love to put a grand piano on there, as it descends [laughs].

Dead Rhetoric: I know you sell a lot of your art. How long does it take you to come up with an idea, draw it, and go from there?

Monet: Each piece is different, sometimes I make it pretty fast. If I already have an idea in my head, I can make it in a day or two. If I am making something from scratch, maybe I start with the background, and then think about what might be the focal point. The next day I start doing details, which could take up to a week. Sometimes people commission something, they want me to draw something specific. I have more direction then.

I’ll show you my biggest canvas so far. We are actually doing a giveaway [shows canvas]. We are giving it away on March 6 [enter by PRE-ORDERING the album]. This was inspired by the whole album. It has a lot of elements from things I think about when I make the songs. This has a DNA strand and it kind of has this tree of life look, and the artificial intelligence elements, and AI cyberhumans.I have a lot things going on inside my head. It’s pretty heavy!

Dead Rhetoric: It looks really big! Do you find something like this helps with the album promotion? I know you’ve done things like this in the past too.

Monet: I think it does, maybe it encourages people to check it out if they want to win something. I think these days, it’s hard because there is so much going on at the same time. A lot of people rely on digital media. For me, it’s a way to bring people back to the physical. I find so much value in having something physical. Having a piece of that world in your house. For me, it’s a way to keep offering that physical aspect of art. That’s important for me, I really love it and want people to have it as well. Everyone can have it on your phone and look at it, but it’s a different experience to have a thing that’s physical.

Dead Rhetoric: What are your plans once you finish the Xandria/Delain tour?

Monet: I think we are going to go back to Europe in the summer or fall. I think we are going to Mexico for the first time in July. I really want to reach as many parts of the world as we can. I think this year will be a lot of touring, more videos, and then another graphic novel. It’s going to be a lot of expanding. A lot of playing music live and doing what we are doing!

Edge of Paradise on Facebook
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