ALBUM REVIEW: Accept, “Symphonic Terror: Live at Wacken 2017”

By: Richard Maw

Album Type: Full Length

Date Released: 23/11/2018

Label: Nuclear Blast

 

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining.  The album represents a unique performance and demonstrates a band at the top of their game

 

“Symphonic Terror: Live at Wacken 2017” CD//DD//LP track listing:

CD 1:
1. Die by the Sword
2. Restless and Wild
3. Koolaid
4. Pandemic
5. Final Journey
6. Night on Bald Mountain
7. Scherzo
8. Romeo and Juliet
9. Pathétique
10. Double Cello Concerto in G Minor
11. Symphony NO. 40 inG Minor

CD 2:
1. Princess of the Dawn
2. Stalingrad
3. Dark Side of My Heart
4. Breaker
5. Shadow Soldiers
6. Dying Breed
7. Fast as a Shark
8. Metal Heart
9. Teutonic Terror
10. Balls to the Wall

The Review:

Accept, as of last week, are now down to one original member- Wolf Hoffman. However, for this unique 2017 concert at Wacken, Peter Baltes was still there on bass- even if Hermann Frank had departed as rhythm guitarist. As has been documented in past reviews, I feel that Mark Tornillo is every bit as good as Udo Dirkschneider and he has now headed up the band for ten years. As the title suggests, this is a full live gig with a difference- the central portion of the performance marries Acceptup with a symphony orchestra- which then stays for the latter half of the gig! The first section of the release is a straight ahead metal performance, the middle section features Hoffman with orchestra- utilising his “Headbangers Symphony” solo album as the basis- and the latter half of the record treats the audience to classic Accept songs accompanied by the orchestra.

So, how essential is this? Well, not essential at all. It's a live album with an orchestra attached to two thirds of it. However, that view may be doing this record a disservice. To be sure, the central section is very stirring indeed and is actually successful in combining metal with classical. Its leagues ahead of Metallica's“S & M” effort of nearly 20 (!?) years ago and much more interesting than Deep Purple's misfiring “Concerto for Group and Orchestra”. The latter part of the release is also an interesting experiment- but much more in the vein of Metallica'saforementioned effort.

I could not claim that “Princess of the Dawn” is enhanced by the presence of the orchestra, beyond it being... different and more grandiose. The band wisely chose some of its more theatrical and grand material for the latter half of the gig and it is a thrill to hear “Stalingrad” with classical backing. I think the thing here is that if you like Accept, you will like this record.

I love Acceptand they are one of the best live bands I have ever seen. Hearing their songs with a new twist is interesting and a diverting listen. Will this take over on regular rotation from the superb “Restless and Live” record from a year or two back? No. While “Symphonic Terror” does boast the chance to hear some of the tracks from “The Rise of Chaos” in a live setting it is too much of an oddity to usurp a straight ahead live record.

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining. The central orchestral section really works and is testament to Hoffman's ability as a writer and player that it sounds so grand and cinematic. The album represents a unique performance and demonstrates a band at the top of their game. Having released a straight ahead live compendium recently, the band can play around with its sound and put out this album- why not? Recommended to all Accept fans and fans of classical music. For those new to the band, start elsewhere.

“Symphonic Terror: Live At Wacken 2017” is available now



Band info: official || facebook

RECORDS OF THEIR YEARS...with ENSLAVED songwriter and guitarist Ivar Bjørnson

ENSLAVED's latest album, "E", was released last October via Nuclear Blast. The follow-up to 2015's "In Times" was recorded at Duper & Solslottet Studios in Bergen and was once again mixed and mastered by Jens Bogren at Fascination Street Studiosin Örebro, Sweden.

ENSLAVED are currently on the road in support of “E” undertaking a co-headline European tour with riff masters HIGH ON FIRE. The string of dates started in late September and will run through to mid-October, 14 shows across seven countries. Following two UK headlining shows in Milton Keynes and Leeds, ENSLAVEDwill take in the following shows below:

Oct. 08 - Academy 2, Manchester, UK
Oct. 09 - Tivoli, Dublin, IRE
Oct. 10 - Limelight 2, Belfast, UK
Oct. 12 - The Mill, Birmingham, UK
Oct. 14 - SWX, Bristol, UK
Oct. 15 - The Dome, London, UK
Oct. 16 - La Machine du Moulin Rouge, Paris, FR

During a break in between touring, we were fortunate to hook up with ENSLAVEDsongwriter and guitarist Ivar Bjørnson to discuss some of his favourite records.  Welcome to Records of their Years…

SLUDGELORD: Favourite album from the year you were born?

Ivar: 1981 - it’s got to be ‘Animals’ by Pink Floyd. It’s such a wonderful album with such a great mythology around the cover artwork, surrounding the flying pig above the factory and how it broke loose. It ended up in some, I think Welsh farmer’s field? He found a name tag on it and returned it. When they did the next shoot for the album they had some local posh dudes with shotguns hanging around, just in case the pig broke loose so they could shoot it down.  Just the music on the record is incredible, like the songs ‘Sheep’, ‘Dogs’, ‘Pigs…’ it’s amazing. I know with Pink Floyd there’s other albums that tend to get mentioned more, but ‘Animals’ is a big one, a really important one.

I first heard the album when I was about to turn 11 years old. At some point during the year when I was 10, my dad told me that when I turned 11, he would hand over his entire vinyl collection to me. Around ’87 many of his friends started getting rid of their LPs and buying CDs, you know. Many of his friends threw their LPs out or gave them to pawn shops, second-hand stores or charity shops. Luckily for me, he had a moment of clarity and thought - ‘at least the Pink Floyd albums gotta keep on going, so I’m going to give them to my son.’ I remember listening through the collection and listening to ‘Animals’, and it was really an eye opener. It was quite a lot to take in for an 11 year old, but I had already been listening to ‘Wish You Were Here’ and ‘Another Brick in The Wall’ quite a lot, and some of the stuff from ‘The Dark Side of The Moon’. But there was something about ‘Animals’ that has been following me ever since.

SLUDGELORD: The first record you bought with your own money?

Ivar: The first record I bought with my own money was Europe ‘The Final Countdown’ I believe. I think it was at around the same time that I inherited my dad’s Pink Floyd collection. I don’t know why I made that specific choice; I must have heard ‘The Final Countdown’ and it had an impact on me. No matter how cheesy that one is, it’s still a good song. I got hooked on it, and there are so many other good songs on that album. The circle was finally completed when I went and saw them play live at Sweden Rock festival in 2004. It’s still one of the best concerts I have ever seen.  They’re a very underrated band because of ‘The Final Countdown’ thing. They have so much more to offer than that one track. They’re amazing instrumentalists, with an amazing singer, and quite an intellectual band I would say actually, when you read their interviews and hear what they have to say about what’s going on in their minds behind all of these heavy metal classics.

SLUDGELORD: Your Favourite Non-Metal, Non-Rock Album?

Ivar: That’s a tough one… I would say ‘Bitches Brew’ by Miles Davis. It’s a very psychedelic album, a weird album. When people said he had a psychedelic period, I was like ‘hmm what do they mean, it’s still jazz I guess?’ but when I listened to it closely I was like - ‘WOW, now that is something really different’.  And it opened my eyes to a lot of jazz from that time, the fusion that was going on from that sort of pure jazz, that lead into something so wild and psychedelic. I guess it was sort of around the same time when rock music went into the psychedelic era, but it just feels like the jazz people got even more out of it in a sense.

SLUDGELORD: The Album that most disappointed you?

Ivar: That would be W.A.S.P ‘The Last Command’ – it came about quite early in my days as a record collector. Everyone was talking about W.A.S.P, and about how fantastic they were and so on. EVERYONE. I guess that I’m talking about the 3 other kids where I lived who were into heavy metal. I bought the record and I kind of liked the title song for a little while, but then I listened to more of it… Nowadays it’s okay to not like W.A.S.P, but I lived through many years where people would really give me shit for thinking W.A.S.P were crap. I guess it helps that Blackie Lawless started acting weird, and not being so nice to people. But I’ve said it for 30 years now; they’re not a good band.

SLUDGELORD: Favourite album of all time or if you prefer album (s) you’d run back into a burning building to rescue

Ivar: If the building was on fire I would make sure that I grabbed from my vinyl shelves; Pink Floyd’s ‘The Dark Side of the Moon’, Mayhem’s ‘De Mysteriis Dom Sathanas’, Bathory’s ‘Hammerheart’ and King Crimson’s ‘In the Court of the Crimson King’. Those defined me when all else was lost, those four albums would be the perfect soundtrack for a new start.

SLUDGELORD: Favourite album (s) of 2018?



Ivar: Krakow ‘minus’.

SLUDGELORD: The last album you bought? 

Ivar: Emmerhoff and the Melancholy Babies ‘Circle Six’ (on vinyl).

Enslaved’s latest album ‘E’ is out now via Nuclear Blast, available HERE.

Band info: Facebook

VIDEO PREMIERE: "On The Run" Acoustic Version By The Vintage Caravan

Hailing from Álftanes, Iceland The Vintage Caravan, this trio of immensely talented musicians are set to hit the road again, instruments in tune, in hand and ready to astound with their new record “Gateways”, officially released today Friday 31^stAugust 2018 via Nuclear Blast

This delightful trio appeal to every part of THE SLUDGELORD’S blackened heart, their bluesy classic rock, their psychedelic leanings, their prog and doom twists and slants, all of it works harmoniously with a heavy enough sound that even the most diehard  metal heads can rejoice. Today to celebrate the release of “Gateways”, you can check out an exclusive acoustic version of album track “On The Run”, which you can check out below.  “Gateways” is available HERE

Band info: facebook

RECORDS OF THEIR YEARS....with Joe Rowland of Pallbearer

Few bands have had quite same impact as Pallbearer over the last 6 years. New LP “Heartless” saw the Arkansas quartet complete their journey from underground doom heroes to all-conquering titans of the genre.  Nearly 18 months after the release of “Heartlesss”, Pallbearer have toured relentlessly and perhaps when it was thought there was nowhere else to roam, the band are set to hit the UK this coming Monday 16^th July 2018, with five dates including a spot at Bloodstock. Recently I caught with Joe Rowland (bass) from the band, to discuss music, (what else) but more importantly albums from his birth to the present day.  Check it below.  

SL: Favourite album from the year you were born?

Joe Rowland: I had never really kept mental tabs on this so I had to a quick internet search, and much to my delight I discovered a few that certainly rank very highly (Jesus and Mary Chain’s‘Psychocandy’, Sisters of Mercy’s‘First and Last and Always’ and ‘Hounds of Love’ by Kate Bush) but there is a clear winner here for me: ‘No Jacket Required’ — I am and always will be an unabashed Phil Collins fan.  Starting with my dad showing me a live Genesis tape when I was a very young child, I immediately developed an affinity for his music, and I can’t even count how many times I’ve listened to this album. I don’t care if it’s not cool, as seems to be the pervading opinion nowadays. Phil Collins forever! 

SL: First album you bought with your own money?

JR: The first album I bought was a CD of some classical music. I don’t even remember what it was! At that point in my childhood it had been determined by the powers that be that it was against the rules in my household to listen to anything other than classical music. Once I had my driver’s license all bets were off though, and I committed the ultimate act of rebellion by going out and buying ‘My Own Prison’ by Creed on CD. Bonus answer, my first vinyl album that I purchased not too terribly long after that was ‘The Argument’ by Fugazi, which I’m pleased to say is significantly less questionable (although Creed is still good for a laugh from time to time, I’m not going to lie!)   

SL: Favourite non metal / rock album?

JR: This is a tough question… and my answer will possibly also be my answer to the following question as well. I’d have to go with ‘Hosianna Mantra’ by Popol Vuh. Popol Vuh is my personal favourite and overall most influential artist I would have to say. This album, despite not having my #1 Popol Vuh song on it, is utterly transcendent and I strive to inch closer and closer to making music that is as emotive and affective as this album makes me feel. 

Runners up (at the moment)

Popol Vuh, ‘Heart of Glass’

Brian Eno, ‘Ambient 4: On Land’

Klaus Schulze, ‘Moondawn’

SL: Favourite album of all time:

JR: I’ll mention my favourite METAL and Rock albums of all time here: 

For metal, it’s ‘Mob Rules’ by Black Sabbath. It’s perfect, I love everything about the riffs, Dio’s performance, Geezer’s bass playing and tone are 10/10. It’s just a great record that has a lot of “fuck yeah” gratifying moments on it. It’s also one of the greatest records to have drunk singalongs to! It’s an emotional rollercoaster, especially ending on the massively sorrowful ‘Over and Over’. 

For rock, it’s ‘Red’ by King Crimson. This almost defies explanation; it’s such an interesting record, I remember first listening to it and kind of marvelling at how raw it is. Three of the greatest players in relatively recent history, playing what to me is truly emotionally primal music. It’s not polished, but it is very real. It sounds to me to be quite different from the opulent and grandiose sound achieved by many of the other figureheads of prog rock of that time perhaps even rock and roll in general in 1974. There is just something much more mean at work here. And it’s also got that same sort of tragic ending that I enjoyed in equal measure on ‘Mob Rules’. 

SL:Favourite album of 2018?

JR: It hasn’t been released yet, but I’ve heard the new Deadbirdalbum coming out on 20 Buck Spin, and it is easily my favourite thing I’ve heard this year. 

SL:...And finally The last album you bought?

JR: I recently picked up vinyl copies of Craig Leon ‘Nommos’ as well as Steve Roach ‘Empetus’(two great 80’s synth records if anyone is curious.) Sadly I have not had the chance to spin them on my home hi-fi system yet, but I’m looking forward to some time off the road to immerse myself!

Pallbearer will be touring the UK from July 16th - 19^th – tickets are available HERE.

July 16th – London, The Underworld

July 17th – Glasgow, Stereo

July 18th – Leeds, Brudenell Social Club

July 19th – Bristol, Fleece

Aug 12th - Bloodstock

Their latest album 'Heartless' is out now HERE + brand new single 'Dropout' HERE" 

Band info: official || facebook

ALBUM REVIEW: Immortal, "Northen Chaos Gods"

By: Daniel Jackson

Album Type:Full Length

Date Released:6/7/2018

Label:Nuclear Blast

Fans of each era of Immortal will find something that speaks directly to them, and as a beginning for a new era in Immortal’s career, it’s an obviously strong one.

‘Northern Chaos Gods’ CD//CS//LP//DD track listing:

1. Northern Chaos Gods

2. Into Battle Ride

3. Gates to Blashyrkh

4. Grim and Dark

5. Called to Ice

6. Where Mountains Rise

7. Blacker of Worlds

8. Mighty Ravendark

The Review:

The story surrounding ‘Northern Chaos Gods’, Immortal’s first new album in nearly nine years, is all about what transpired during their long hiatus, and the absence of their longtime and charismatic front man Abbath. It’s a difficult thing, trying to move out from under the shadow of someone whose personality and voice were so intrinsically linked with the band’s very existence. On social media, the announcement of this album was plagued by comments from long time fans deriding the very thought of Immortal continuing without Abbath. It felt like an impossibility to them, like trying to imagine Motörhead without Lemmy.

Heavy metal history is brimming with stories of bands trying to continue on without legendary vocalists: Iron Maiden, Judas Priest, and so on. And we know that those stories rarely end with the band continuing to succeed at a similar level once that change is made. But there are exceptions to that rule. The most prominent example of this, at least from an extreme metal perspective, is probably Cannibal Corpse. Corpsegrinder has proven to be a more dynamic vocalist and an equally, if not more engaging live performer. It’s hard to find the basis for an argument that the band’s popularity has suffered without Chris Barnes, as you won’t find any evidence supporting that idea based on comparing sales for last year’s Six Feet Under and Cannibal Corpsealbums.

Making predictions for something like this is never easy, but the Cannibal Corpse analogy may hold water still, even though they and Immortal represent different subgenres. Cannibal Corpse’s first post-Barnes album was ‘Vile’ in 1996, an album that was met with mixed reviews from fans. And while it’s pretty likely that ‘Northern Chaos Gods’will fare somewhat better in its reception, there are some issues with the album that deserve consideration.

The main concern I have with ‘Northern Chaos Gods’ is what I’ll call “going to the same well too many times” with certain compositional choices. In specific, it’s using very similar-sounding triplet-based clean guitar parts in several songs throughout the album. They first appear early on in the song “Gates of Blashyrkh” and show up again and again as the album goes on. Directly related to this is Demonaz’ continued love affair with viking-era Bathory, which in and of itself isn’t a bad thing. But the way that slower, epic sound manifests itself here causes the album to lag somewhat as we get late into the album. By the time “Mighty Ravendark” ends, we’ll have heard the “clean triplet guitar interlude into epic Bathory” device in three separate songs. For those who remember Demonaz’ solo album ‘March of The Norse’, you’ll remember that nearly every song on that album featured the same central rhythm. The man gets a specific musical idea in his mind and isn’t afraid to invest huge chunks of an album to that one idea, exploring it from every possible angle over an album’s duration. The repetition isn’t as difficult to sit through here, but it definitely warrants discussion.

Where ‘Northern Chaos Gods’ shines brightest is when it’s going full speed ahead. The lead single and title track was absolutely the right choice to showcase up front, with its callbacks to the pitch black frenetic energy of ‘Battles in the North’. ‘Into Battle Ride’ is another blast fest, sticking out in particular because it’s the only song on the album in which large sections of it are in straightforward 4/4 time, with the triplet rhythms waiting nearly a full minute before coming into play. “Grim And Dark” is a great combination of the two central styles of the album, with blast beats giving those giant chord progressions some extra energy via Horgh’s blistering speed.

‘Northern Chaos Gods’ is largely a great album. I’ve spent a large section of this review pointing out the album’s faults and hammering Demonaz for dwelling on a certain compositional style, and that’s because I think that’s a valid criticism of what he’s shown us as a composer between his solo album and now this album. But even keeping that criticism in mind, this is still a better album than Abbath’s solo album, which hasn’t held up especially well as time has gone by. Abbath’s album definitely holds the advantage in variety, but ‘Northern Chaos Gods’ is better as a fully realized listening experience. Fans of each era of Immortalwill find something that speaks directly to them, and as a beginning for a new era in Immortal’s career, it’s an obviously strong one.

“Northern Chaos Gods” is available digitally here and on CD/CS/LP here. 

Band info: Facebook

REVIEW & EXCLUSIVE TRAILER: Khemmis, “Desolation” & Phil Pendergast on Hendrix, Fahey & Sonny Boy

By: Richard Maw

Album Type: Full Length

Date Released: 22/06/2018

Label: Nuclear Blast |

20 Buck Spin

Six tracks, all uniformly of a high standard and with a production that suits the record perfectly. This is a fine modern American doom album and will feature on many year end lists. This is doom for the doomed!

“Desolation” CD//DD//LP

1). Bloodletting

2). Isolation

3). Flesh to Nothing

4). The Seer

5). Maw of Time

6). From Ruin

The Review

Colorado's Khemmisreturn with this, their third full length and follow up to the very well received “Hunted” from 2016. This is doom metal, for sure- proper doom; with real singing, melodies, dark sounds and tempo changes in the vein of Sabbath.

It is not a million miles away from Sabbath or Dawn of Winter but perhaps closer to Apostle of Solitude  in that it is modern in sound and scope but with a firm grip on the genre's past. It is also distinctly American in approach- no way would you mistake this for Witchsorrowor Serpent Venom. With “Bloodletting”sslow slog to open, the listener is in no doubt that this is traditional doom. “Isolation” may be a few steps quicker, but these Denver cowboys know how to ride a groove: not too quick and they are able to make these songs swing a little rather than just plod. There is dark fare on offer here- “Flesh To Nothing”, for instance is as black as the title suggests.


The rumbling of “The Seer” is impressive and the band plays wonderfully through the changes. My personal favourite, “Maw of Time” (for obvious reasons) is a monolithic slab of sorrow and dark doom with death growls. The nine and a half minute closer “From Ruin” finishes the album off before it outstays its welcome.

Six tracks, all uniformly of a high standard and with a production that suits the record perfectly. This is a fine modern American doom album and will feature on many year end lists. This is doom for the doomed!

“Desolation” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Overkill, “Live in Overhausen”

By: Richard Maw

Album Type: Full Length

Date Released: 18/05/2018

Label: Nuclear Blast

Overkill are now fully established as the Motorhead of thrash:  a lean mean killing machine that defies age and just keeps on delivering the goods while upping the ante each time.

“Live in Overhausen” 2CD//DVD//DD//2LP track listing:

1. Coma

2. Infectious  

3. Blood Money

4. Thanx For Nothin'

5. Bare Bones

6. Horrorscope

7. New Machine

8. Frankenstein

9. Live Young Die Free

10. Nice Day - for a Funeral

11. Soulitude

12. Raise The Dead

13. Rotten To The Core

14. There's No Tomorrow

15. Second Son

16. Hammerhead

17. Feel The Fire

18. Blood and Iron

19. Kill at Command

20. Overkill

21. Fuck You

The Review:

Overkill return with a double live album after last year's excellent studio effort, “The Grinding Wheel”. Instead of a career spanning greatest hits set, or even a compendium of track's from their last four stellar albums the band have gone for something a little different. Indeed, New Jersey’s finest have opted to re-visit their “Horrorscope” and “Feel The Fire” albums. In full. In track list order. Oddly, the set starts with the chronologically later album, “Horrorscope”.

So, you get 21 tracks over either two CDs (plus DVD or Blu Ray) OR you can fork out for two double LP sets; one for each album. I have opted for the CD and DVD this time around as I simply can't justify buying that and two double LP sets- that really is a big ask, even for a dedicated fan.

This review only focuses on the audio part of the release: it is superb. In fact, this is easily the best Overkill live album. “Wrecking Your Neck” suffered a little from a flat sound, whilst “Wrecking Everything” was an improvement, it still did not capture the full intensity of the band. This time around the band has nailed it. This is one intense performance with the band firing on all cylinders and ably assisted by guest drummer Eddie Garcia of Pissing Razors.

I saw one of the shows on this tour and the band were on fine form, and clearly building up to this performance in Germany. The sound is excellent; full and clear with 1500 German maniacs ably assisting the band by rowdily cheering along and chanting the band's name between songs. The material form “Horrorscope” sounds fantastic with the beefed up modern production and the songs shine. The band retained their punk-ish edge even through the more complex and dark material on offer here and it is still regarded as one of their best, over a quarter of a century later.

The real draw for me, though, is the performance of the “Feel The Fire” album. It stands shoulder to shoulder with “Kill Em All”, “Shown No Mercy”, “Fistful of Metal”, “Bonded By Blood”, “The Legacy” and “Killing is My Business...” for me- and I prefer it to nearly all the records on that list! Overkill's debut was and is a thing of marauding beauty- matching Maiden-esque guitar runs with thrash speed and punk like aggression. To hear the band sounding so vital and revved up on this thirty-something year old material is a treat. “Rotten To The Core” is superb, the extended middle section of the title track (Higher... Higher... Feel The Fire!!!) is as dramatic as it is spine tingling. Metal perfection! The run of great tracks on the album is astonishing; “Hammerhead”, “Blood and Iron”, “Kill at Command...” thrash metal does not get any better.

The CD/DVD is actually pretty good value- you get two full albums live and a DVD for your money: not bad! As stated before, forking out for both vinyl sets is pretty steep, but if you love one album and are not too bothered about the other, you can choose. I'll pick up the “Feel The Fire”set when I have the cash. Ah, who am I kidding, I'll get the “Horrorscope” one as well!

Overkill are now fully established as the Motorhead of thrash:  a lean mean killing machine that defies age and just keeps on delivering the goods while upping the ante each time. Compare their recent output to any of the other big thrash names. Overkill are streets ahead in intensity, hunger, material and work ethic. This expansive live release may well test your wallet, but the band passes the thrash exam with flying colours.

“Live in Overhausen”is available here

Band info: facebook

VIDEO EXCLUSIVE: Graveyard - Truls Mörk discusses Peace and new drummer Oskar

With their fifth album, “Peace”, GRAVEYARDguides the listener through an ever-changing musical landscape filled with their trademark take on classic rock. From the opening track’s blistering declaration that ‘It Ain’t Over Yet’ to the final note of heart beating bass on the epic and moody rocker ‘Low (I Wouldn’t Mind)’ the band manage to squeeze out every last creative drop of what there is to know, hear and love about GRAVEYARD in 2018.

To anyone who has followed GRAVEYARD throughout their career it comes as no surprise that »Peace« offers yet another passionate display from band that utilises a wide variety of styles and moods. But, if you were to pin-point the one thing that really sets “Peace” aside from the band’s previous albums, it would be that the production on “Peace” is the band’s heaviest and most solid to date. With the album release last Friday, 25^th May, today you can check out an exclusive video of Truls Mörck talking about why the album is fucking awesome and what new drummer Oskar brings to the fold. “Peace” is available HERE

Band info: facebook