MYNAS Release Lyric Video for “Tearing Down The Clouds”

MYNAS CD release flyer

Melodic Death Metal band MYNAS has released the lyric video for “Tearing Down The Clouds.” Originally premiered on HM MAGAZINE, “Tearing Down The Clouds” is off of their upcoming LP, Dead to the Unknown, due out 1/25/2019.


“Tearing down the clouds is a song that demonstrates where we have been and where we can go…It was one of the first songs we wrote for this record and it really had us testing our limits as writers. Musically and lyrically we all came together and really found our “sound” per se. During recording, it was just full of possibility. We all felt each moment had to be monumental. “tearing down the clouds.”

48397783 2438265492854822 3920886824318271488 n

Track List:
1. A Time to Fall
2. Tyrant
3. Dead to the Unknown
4. Frail
5. Tearing Down the Clouds
6. Emptiness in Me
7. Oblivian
8. Worse for Ware
9. Into Silence
10. My Machine
11. End of All
12. Until I Go

Pre-Order Dead to the Unknown Online:

MYNAS pic copy

Make no mistake, the Las Vegas-based Mynas is here on business.
The band consists of seasoned musicians with the kind of die-hard work ethic that has gained them the reputation of a relentless & must-see live act! They say that the fans are what fuels this relentless drive and ferocity!

January of 2019 finds the band unveiling their next offering as a follow-up to their well-received CD Fear The Slave now available globally on all digital outlets. Their next CD Dead To The Unknown hit’s the streets on 1/25/19 and is followed by a massive hometown release show on 2/1/19.

Mynas continue to write, record & play select regional dates as they prepare for spring & summer touring in support of Dead To The Unknown.


SANCTUARY – announce “Inception” album details and launch trailer

Century Media Records and legendary US metal act SANCTUARY have set February 24th, 2017 as the release date of Inception, the official prequel to 1988’s classic debut “Refuge Denied”.
unnamedInception contains presumed lost 1986 studio recordings, which guitarist Lenny Rutledge discovered recently and which were magically restored, remixed and remastered by Zeuss (Queensrÿche, Hatebreed). You can watch the first video trailer here.
Guitarist Lenny Rutledge comments: “I found the masters in my barn. The second floor of the barn is on top of our current recording studio and is very rough and open to the elements. The ground level is where we recorded the bulk of ‘The Year The Sun Died’. We found the masters in an unknown box in the barn, full of water and just wasting away.
Zeuss explains further how the Inception album was realized: “I got a call one day and Lenny said that he had discovered these tapes and had them transferred to digital. I was in the area and stopped over to check it out. The recordings were still in decent shape. We agreed that we wanted it to sound as good as possible without taking away from the original vibe and vision of what the band had back then. After a year of mixing on and off we were able to resurrect these original demos. I hope everyone enjoys these recordings as much as I did working on them especially being a huge fan myself.
Recorded in March of 1986 (“Soldiers Of Steel”, “Battle Angels”) at Triad Studios in Redmond, Washington and Studio One in White Center between April and July 1986, Inception offers such previously unreleased highlights as “Dream of The Incubus” and “I Am Insane” as well as several classic Refuge Denied songs that are burning with fervour and intensity.
Apart from being expanded by art courtesy of Ed Repka, Inception is filled to the brim with tons of rare photos, flyers, early art designs, sketches plus detailed liner notes allowing you to delve deep into SANCTUARY’s history.
Inception will be released as Gatefold LP on 180 gram black and limited colored vinyl, includes an extensive LP-size booklet, poster, and the album on CD as additional extra. Apart from that it will be available as Special Edition CD Digipak and digital album.
Lenny concludes: “For me personally, I just wanted fans to be able to hear proper versions of the demos. They had a certain energy that was captured during the early days, maybe even more so than “Refuge Denied”. It’s no secret that you can find these on the internet but the quality is horrible. I think most people are under the impression that these are remastered or re-recorded versions of Refuge…”, but this is all a prequel!
With several European festivals already booked for next year, a new album in the works, Inception being released, 2017 shall be the year when past and future of SANCTUARY unite. Look forward to the next assault of the soldiers of steel!
1. Dream Of The Incubus
2. Die For My Sins
3. Soldiers Of Steel
4. Death Rider / Third War
5. White Rabbit (Jefferson Airplane cover)
6. Ascension To Destiny
7. Battle Angels
8. I Am Insane
9. Veil Of Disguise

REVIEW: Fallen Fate Leave Their Concept Hanging in New Album

Fallen Fate are one of the newer metal bands to appear after the new millennium began. The cavalcade of heavy metal bands from the UK meant that metal was once again empowered. The thrash world mixed death metal and punk for metalcore to rise, and Fallen Fate were ready to plow their way down the aisle and spread their dark, heavy tracks to the people. Into the Black is Fallen Fate’s latest, a concept album with a gothic edge. Sadly, despite a creepy concept, Fallen Fate rarely articulate their story coherently, leaving a stripped-down album that doesn’t rise or fall enough to be dynamic or interesting.

Into the Black is a concept album about Vespa, a young girl who denounced faith in God early in life. Over time, Vespa is possessed by a demonic presence, who takes control of her life and kills her family, ultimately killing Vespa. The concept is something ripped right from one of those modern exorcism movies that get released every year like The Conjuring or The Possession, and while Fallen Fate tend to go a bit deeper than the films that inspire Into the Black, the story is still loose and the music doesn’t do much to present that story in a very articulate or cinematic manner. The band also intentionally leaves the story untied. By not explicitly detailing what exactly is controlling Vespa, the band wants to leave the interpretation to the listener: as to whether Vespa is truly possessed by evil or if her affliction is a sort of divine punishment for not following a faithful life. While leaving an idea open to interpretation isn’t bad per se, announcing that debate within the concept takes a ton of that fun in digging deeper and understanding the concept away. It’s like a standup comedian having to explain why their joke is funny after telling it.

Musically, Fallen Fate stay true to the melodic death metal mantra established by contemporary metal bands like As I Lay Dying and Lamb of God: brutal, guttural vocals with thrash metal musicianship, and while that’s not necessarily bad, Into the Black is certain to leave something to be desired. Vocalist Lee Skinner produces rough vocals throughout the entire album, so it already has its share of limitations. Rough vocalists, due to their lack of melody, are reliant on rhythm to stay interesting and Skinner very rarely experiments with his delivery. The darker, more ominous background vocals in songs like “I Welcome the Dead” and closer “Vespa” are really the only places where the vocals keep things fresh. They add atmosphere and a sense of presence, like something is watching from afar, but they are rarely used and their impact doesn’t give the album much personality beyond their immediate location in the track.

The musicianship, sadly, stays within its own circle as well. The guitar solos crank up the energy on occasion, but to compliment the creepy-as-hell subject matter, speed and melodic creativity isn’t the name of the game. The heavy rhythm section and low-tuned melodies are clearly dark (which is appropriate for an album about religious/sacrilegious conflict). The gothic tones and church-choir atmosphere are nice as well; it’s just a shame that they can’t shine brighter alongside Piers Donno-Fuller’s guitars. And the guitars are really good. “Last Rites” and (once again) “Vespa” are amazing examples of Donno-Fuller’s axemanship. The blend of ascendant, almost angelic solos with the crunching and falling riffs signify Vespa’s push-pull story of good and evil. It’s here where Fallen Fate manage to really paint a picture and tell a story.

Into the Black is dark, and frankly, it should be. It’s a concept album about otherworldly possession, but a good concept album knows that music and story should be entwined. You are telling a story through your music. Fallen Fate have trouble telling that story: instead of some deep narrative, the constantly dark tone sounds more like a one-act play that goes much longer than it should. There are no striking moments, no left turns to speak of and nowhere to really get the guts of their narrative out in front. Virtuosity clearly has a place in modern thrash/metalcore, but it’s how that musicianship is organized that makes Into the Black so underwhelming. Fallen Fate try to tell a story, but Into the Black only provides a setting. A setting does not a story make.

STARKILL to release new album, ‘Fires of Life,’ on March 5th

Century Media’s latest signing, Chicagoland-based, melodic death metal band STARKILL, will release their debut album, Fires of Life, on March 4th in Europe and March 5th in North America. The album will feature the 10 tracks listed below. The album artwork was done by renowned metal artist, Joshua Belanger, in which he properly portrayed the epic musical styling of the band.

STARKILL was formed at the tail end of 2008 by Parker Jameson, Spencer Weidner and Charlie Federici. The band makes no qualms about wearing their influences on their sleeves. They combine what they love–melodic death metal, shredding guitars, blasting drum beats and the epic sounds of modern film scores–and make some of the most promising metal music heard this side of the Atlantic in years.