Bubonic Wrath – Release – A Precious Reaping from the Fields of Blood

Bubonic WrathRelease Info:
Name: A Precious Reaping from the Fields of Blood
Type: EP
Date: 07/28/14

1) Reign of Narcissus/Shamhat
2) Capricious Mass
3) Rabid Capitoline
4) A Curse from an Old World

Bubonic Wrath is:
Marcos Camacho
Chris Kelly

Guest musicians and Staff:
Tony Howard – Vocals and lyrics on Rabid Capitoline
Tyler Sherrill – Intro on Reign of Narcissus
John Yelland – Spoken German
Napalm Strike – Group Vocals

Chad Bill Anderson – Mixing/Mastering

FACEBOOK: https://www.facebook.com/bubonicwrath

Certified Bryan: If You Have Ghost


Acceptance in the metal community has become a common theme in my articles and the
topic du jour once again tests my patience for entitlement and false elitism. This week in the metal news, much attention was brought upon an online petition, seeking support from the metal community, demanding the band Ghost (known as Ghost BC in North America) to split up and stop releasing new music. Multiple metal news websites picked up on this and shared the petition and there is already an anti-petition (is that even a real thing?) decrying the goals of the original. In an effort to break this down and realize how ridiculous it is, let’s take a look at the original petition’s statement:

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Disforia – The Age of Ether Review


The key to success and respect for an up-and-coming metal band as I have seen it for some time now is to catch the listener off guard, have themselves caught up in the music by their own volition, and make them wonder how this band did it all. I experienced these thoughts and asked the question more than once when I first listened to the debut album The Age of Ether by metal outfit Disforia from Salt Lake City, Utah. I cannot overstate this band’s keen ability to come up with original themes throughout the album and how this makes them stand out against other local acts.

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Steamforged Announce New Album Tracklist and Release Date

Progressive metal extravaganza, Steamforged, have announced a release date for their much anticipated fourth full-length opus, The Endless, as well as the final track listing and line-up of guest musicians. This truly epic LP has been in production for nearly two years and shows yet another leap forward in technical prowess by musical mastermind Tyler Sherrill. The Endless, much like previous Steamforged releases, comprises an original conceptual story, this time featuring guest narrative by multiple respected musicians and friends of Masters of Metal Productions to produce an even more immersive experience for the listener. The release will be available for free download and donation via Bandcamp on July 31, 2014 and clocks in at almost one and a half hours of keyboard driven insanity. We are very excited to finally bring you this momentous release!

Release Info:
Name: The Endless
Type: Full-length
Date: July 31, 2014


1. Whispers of Myth – Godlike Epiphany
2. The Endless – Infinity, Perpetuity
3. Mu – Three Lives Myriad
4. Atlantis – Trenchbound Majesty
5. Agartha – Worldheart
6. Freya’s Anguish
7. Valhalla – Crimson Drops of Gold
8. Rumination of the King
9. Avalon – Starless
10. Columna Cerului – Journey Divine
11. Of Gods
12. Empyrean Heaven – Celestial Downfall
13. Antechamber – Solar Providence
14. Stasis – Deity Cocoon
15. Transform – Cosmic Apotheosis
16. Grand Creation – Nova Regnus
17. Apolytos – The Grand Palace
18. History Changed – Tyrant of Mythology
19. Altered Tomorrow


Tyler Sherrill – All instrumentation


Brett Windnagle – Mixing/Mastering


John Yelland – King of Atlantis
Mercedes Victoria – Freya, Empyrean Goddess
Patrick Hoyt Parris – King Arthur
Norman Skinner – The Endless
Tony Cordisco – Teacher (on Altered Tomorrow)

Certified Bryan: Crowdfunding is Serious Business



In recent years there has been a new trend among recording artists toward abandoning the old business model of the label-musician contractual partnership and instead adopting a more direct relationship with fans through crowdfunding. Whether bands use services like Kickstarter, Indiegogo, or many other similar websites, this has become a viable and lucrative option for independent artists worldwide. We are in a time of rapid change for the prospect of being an independent musician. With the popularity of these new avenues for funding, simplified merchandise sales websites like Bandcamp and Big Cartel, increased avenues for self-marketing through social media and streaming music services, and the ever-increasing availability of low-cost and easy-to-use recording equipment and software, it is now becoming easier than ever to take ownership of your fate as a musician and reduce the extensive costs involved. But what does all of this mean for the industry and metal community as a whole? Is this trend toward independence going to have a positive or negative impact?

For those not aware of what crowdfunding is or how it works, think of it like the popular television show Shark Tank. On the TV show, you see entrepreneurs present their business ideas and inventions to a panel of investors who then decide whether they want to fund the project or not based off of the return they can see in their investment. Similarly, crowdfunding websites allow individuals to propose products and services to everybody on the internet and present them with increasing levels of benefits based on how much backers are willing to donate. A funding goal is set for the campaign and it normally runs for about 1-2 months. If the goal is met, backers receive their perks. If the goal is not met, backers get their money back. Should you reach your goal, crowdfunding websites take a small percentage of your funding as payment for their services. It’s a simple business model and incredibly powerful if you have the social media reach and grassroots support to warrant trying one of these campaigns. The news this past week has shown off how people who think they are being funny have funded a “joke” campaign to make a batch of potato salad for $10 that is currently at almost $45,000 and steadily climbing with 22 days left to donate. Crowdfunding is about more than just hipsters throwing away money to be humorous though. The benefits are obvious for independent musicians and have already shown great results.

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Certified Bryan: Women in Metal


This is not a new argument by any means, but lately I have seen a lot of new debate sparked by the stepping down of Angela Gossow from popular melodeath act Arch Enemy, to be replaced by up-and-coming star Alissa White-Gluz. Some may know her from her long stint fronting the metalcore/melodeath band The Agonist. Others probably remember seeing her on an episode of MTV’s Made where she helped coach a naive high school girl into being a metal screamer. There are many of us who have played in bands that opened for The Agonist or hung out behind venues who have had the chance to personally meet her and talk to her to find out what kind of person she is when she’s off the stage. Alissa isn’t new to this scene and has taken the criticisms of many who would seek to drag her down for well over a decade. She has strong convictions in her personal life and presents herself on stage as a feminine force to be reckoned with. A personality like her is bound to stir some debate among metalheads as she grows in popularity. However, there is one portion of this debate I want to focus on with this post and it is something which goes back much further than Alissa’s entrance to Arch Enemy.

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Judicator – Release – Coping Mechanism EP

Release Info:
Name: Coping Mechanism
Type: EP
Date: May 3, 2014

1. Coping Mechanism
2. Tu N’es Pas Mort, Coquin?
3. The Iron Duke


John Yelland – Vocals
Tony Cordisco – Rhythm, Lead, and Acoustic Guitars, Harsh Vocals on ‘Tu N’es Pas Mort, Coquin?’
Joshua Payne – Lead Guitar
Jordan Elcess – Bass Guitar
Chris Kelly – Drums
Tyler Sherrill – Keyboards

Brett Windnagle – Mixing/Mastering
Tony Cordisco – Guitar/Bass Engineering
Jordan Elcess – Drum Engineering
John Yelland – Vocal Engineering

Lyrics by John Yelland
Music by Tony Cordisco and Tyler Sherrill

Additional Notes:
“Tu N’es Pas Mort, Coquin?” is a complete re-recording of the song by the same name on the band’s first album ‘King of Rome’ — unlike the original track, this recording features live drumming, as opposed to a drum machine.

‘The Iron Duke’ is an acoustic rearrangement of the song by the same name on the band’s first album ‘King of Rome’