Is deathcore your style? Think you have the best selection? Ænimus should be in it!


Fresh from the press we got the album Transcend Reality from Ænimus  and we’re going to go over what this album brings to the big table of meaty good things in metal.  Technical deathcore, some of you might stop after reading that out of sheer belief issues but Ænimus is technical and deathcore.  Ænimus completely nailed that genre dead-on.  Their new album Transcend Reality from the dark and slick folds of the deathcore scene makes this worth every second of audience,   Technical is a pretty estranged definition these days and the crowd goes wild when you use it.  Here is the straight dope about using that word for the uneducated bands out there. Technical ranges in the ability and the complexity of music all the way through breakdowns, solos, riffs, rolls, and fills, and bass lines. It doesn’t have anything to do with splashy choruses but they can be found in many technical bands. If the music itself isn’t technical you can sink your reputation before you even get the debut album mastered.  Ænimus makes it pretty clear they can get this job done right and without faking it.

Waving that flag never did anyone a bit of good when they didn’t back it up. In fact, you’ll find alot of deathcore bands catching more heat for starving the fans of technical or progressive concentration in their music. Over-hyping how much time was spent, playing up the organs in the background, and becoming a lighthouse ten miles in from the shore with their breakdowns that last a minute to two minutes, two to three times per song. All of it becomes useless information and useless banter because the standard expected was in fact not upheld by the band.  And producers are only so responsible these days in any metal album’s production.  Creative input is what you hear on the album. The structure is a little transparent at that point and very vague.  Ænimus has that covered and far exceeds the tech expectations.

Then we have deathcore.  Deathcore is an excellent and most refreshing genre compared to other forms of metal because it sounds so dramatically different. This is not related to metalcore and this is not melodic in any way. This album is not metalcore and is not metalcore at any point. Let me make that clear. If you’re impressed by deathcore and it’s often jackass headliners, look here. This band is on to something but begins the transformation of deathcore into a more, “technical,” direction. Let’s start off reviewing this album with a rundown about the guys in the band. They are West Coast/American and have origins from Orange County as well as Frisco. Let’s just say it folks! Anything that comes from California is going to have that groove metal influence. Now I’m not saying that’s a bad thing because I love groove. I’m from Texas. I should know what groove is.

When I said deathcore was refreshing, these guys are lemony fresh. You want that. You prefer that. It is what you’re looking for in all walks of life and music. These guys are part of a pioneering effort to bring these two genres together and they’re willing to kill small children to make that happen. An added bonus is that their material is truly brand new and untainted by the association of some far more commercial bands. Notice I said commercial and not greater? These guys have that willingness and that reciprocity with their fans already with this album to conveniently set up the next. They seem like the initial hybrid of the new deathcore species that is respectable and carelessness won’t replace their anxiety, which all of them seem to have in abundance.

On to the album! At first I thought this combination of technical and deathcore were going to upset the balance of an otherwise perfected formula in deathcore. Recently in the past six to seven years you’ll see a general approach to this extremist devotion. The core, in and of itself on this album is thematic and flavored with hate. Hate is the only word I can use to describe some of these lyrics. While the first two tracks on the album set the stage for a vivid assasination of what most deathcore is about, the third track takes the album in a bigger direction.

You’ll notice some high definition influences here and by the time you hit the sixth track you have most likely engaged in your own bedroom mosh pit. The breakdowns are not really as frequent as some of the bigger names and because of this the album is more satisfying from start to finish. While there are solos lined up in almost every track it’s important to note they are technical solos. The bass is scraping and a little crunchy but not difficult to make out. They found a pretty good match in production during their leveling and mastering of the final tracks.  The hairs on your skin rise from the first track in and they have probably fallen out by the last track.  I’m surprised, blown away, and this album stands out this year as one of the heaviest and well-received debuts of any band in music.

The straight line finish doesn’t happen here.  This album moves around alot but the credibility and reliability stays deathcore.  It feels like the same band on each track with new ideas and new impressions are set almost every quarter.  The consistency is the only thing I could find negative about it and humorously it’s not even negative.  Beautifully well written, this is not a comical release with funny track names and silly tight pants at your live venues.  From the top you’re invited into a wonderland of terror and tragedy.  Sometimes you’ll find this album dramatic.  But remember that’s ok here and it’s more pathologically troubling that way.  Lyrically, this album is one of the best deathcore albums you’ll ever hear.  But the technical side is pretty decent for this size band.  Normally I’d expect a little more with that tag but I’m biased towards thrash genres anyways.  It’s excellent material in any sense and of an enormously high quality.  Instead of selling you alot of garbage in this review, I’ll tell you this album sells itself.  You need a copy.

At Kosher metal we use a Horns Up! rating system.  Ænimus’ ,”Transcend Reality,” receives high appraisal from any metal fan from any genre.  It is a must own album and you cannot afford to leave this out of your collection.  Do not miss this or you’ll hate your mother even more than you already do.  Kosher Metal is going to brand this album

4.5/5  Horns WAY UP!


Ænimus – Transcend Reality (2013)

To get a free taste of this album and to buy it check out their bandcamp @
Make sure to add them at their facebook

And stay tuned to Kosher Metal.

Keeping it kosher is what we do.
-Mister X
KM Music Review Editor


CELL PHONES and CONCERTS: A Review on Etiquete


There has been quite a stir recently surrounding the use of cell phones a.k.a. smartphones at concerts. Geoff Tate threw a fan’s phone into the audience recently and Cult frontman Ian Astbury has also made a statement surrounding his interaction with a fan who was filming/texting during the show. While their behavior has sparked some outrage and fury, it’s actually quite understandable. Not saying I agree with what they did, but I understand why.

These are professional musicians who make a living doing what they do, not your buddy’s garage band. There is a level of respect that is to be given when supporting the arts. Whether it be a concert, Broadway or theatrical show, comedy club, or anything of the like, it would be proper to hold off on your social networking, tweeting, texting, etc. during the performance. People were able to do it before these device were invented, so it’s hard to believe that people aren’t capable of showing the same level of respect today. If someone that you respected was speaking to you and required your attention, you wouldn’t be texting and tweeting while they were talking to you. Or at least I hope not. No matter what it is….it’s probably not an emergency and can wait. Besides, don’t your friends know your going out to a show? They should be able to understand why you aren’t texting or commenting on their Facebook posts right away.

As far as filming goes, why someone would want to see a show on a small screen as opposed to the high def resolution of real life is beyond me. I mean, are they ever going to re-watch that video? Of course not, they’ll watch it once and realize the sound sucks. But of course that won’t stop them from putting it on YouTube in all its crappy glory, and get a whopping 56 hits. Please, save us all and just keep the phone in your pocket during the show. Although, there’s nothing wrong with taking a picture now and then.

Part of being in an audience, is that there’s a desire to actually pay attention. You’d think that a purchased ticket would be incentive enough to want to remember the experience as it was meant to be. If someone would rather spend the night texting, then they should stay home. Not only is it rude to be paying more attention to your phone than the performer, but the glare from the screen can also be annoying to those around you. If you’re filming while holding the phone above your head…..don’t be surprised if the person behind you just so happens to bump into you and cause you to break your phone – “Sorry bro, a pit broke out.” It’s not worth it if you ask me… just keep it in your pants.

UPDATE: The Ten Commandments One Must Heed If Using A Smartphone At Concerts

POLKADOT CADAVER To Release Christmas EP

Polkadot Cadaver have revealed the following information in regard to their upcoming holiday EP:

The Polkadot Cadaver Christmas album/EP is starting to take shape. Look for an October pre-order option for CDs, a 7 inch vinyl and new Pdot t-shirt designs. Tentative street date is December 10th. This album summons Elvis, Tom Jones, Buddy Holly and Danny Elfman. It shall be a Merry Christmas to all.

I may not be the biggest fan of Xmas tunes, but I’ll still check it out because this band is awesome!

JUDAS PRIEST, ZAKK WYLDE and More Coming to Rock ‘N’ Roll Fantasy Camp

Have you ever wanted to be in a band with Rob Halford? Perhaps you’ve been wanting to jam with Zakk Wylde? Well…now’s your chance!

See the issued statement below:

Hold your excitement, metal fans, here’s the ultimate Rock ‘N’ Roll Fantasy Camp specifically for you metalheads. Rock ‘N’ Roll Fantasy Camp is proud to present JUDAS PRIEST bandmembers — including singer Rob Halford, bassist Ian Hill, drummer Scott Travis, and guitarist Richie Faulkner. (Please note: Glenn Tipton is still in the band but is unable to attend the camp.) More metal masters include Zakk Wylde (OZZY OSBOURNE, BLACK LABEL SOCIETY) and Geoff Tate (QUEENSRŸCHE). This camp will be hosted in Las Vegas at the Rock ‘N’ Roll Fantasy Camp complex and MGM Grand Hotel & Casino from Thursday, February 27 through Sunday, March 2, 2014.

Over the course of four metal-filled days, campers will be placed into bands led by rock star counselors, including Rudy Sarzo (QUEENSRŸCHE, QUIOT RIOT), Vinny Appice (DIO, BLACK SABBATH), Phil Soussan (OZZY OSBOURNE), and Lita Ford (THE RUNAWAYS). Musicians will hone their stage presence, learn to play some of metal music’s greatest songs, get tips on playing as a band and hear stories of life on the road from their rock star counselors. Campers will also attend master classes with these renowned musicians prior to performing live with their band in front of an audience at MGM Grand Hotel & Casino in Las Vegas!

For more information, visit


Back In Blog!

Here we are with a new blog on a new site. We used to be on another pretty popular blogging site, but frankly we were sick of how they handled things and deleted it a while ago. Things have been pretty crazy here in KM Land so we just had to take a step back and revisit it later. Well, later is now and we’re giving it another go! We will be posting Metal news, funny photos, and other things of the Metal persuasion.

With that in mind we have a couple of things we’d like to make you aware of:

  1. We have a new DJ and live show – Brother Chris Violence’s Traveling Damnation Show is live every Wednesday night from 8pm-10pm Pacific time.
  2. We will have Nick Menza (ex-Megadeth drummer) as a live call-in guest during Metalocity Thursday night (August 22nd) from 8pm-10pm Pacific time.

Listen via web or smartphone – visit for more info.

That’s all for now…..and thanks to everyone for their continued support.

menza_interview         ChrisViolenceKosherMetal

Former MEGADETH Drummer NICK MENZA Unveils Book Title

The following press release has been issued in regard to Nick Menza‘s upcoming book, entitled Nick Menza: Megalife.

Reclusive former Megadeth star Nick Menza has been writing, recording and producing constantly but only releasing sporadic singles for years but now, he’s opening the floodgates with the upcoming release of his memoir, “Nick Menza: Megalife” by acclaimed writer J. Marshall Craig. The cover art is expected to be released some time next week.

“Megadeth was a big part of my story,” Menza says, “but it was just one part. Jeff (Craig) has got me to talk about IT ALL!”

The book, which was written over the past 18 months, is in negotiations for release in late 2013. It features rare and never-before-seen photos of Menza with every band he’s ever been in, including, of course, the mega-selling Megadeth. “It’s a memoir of music,” writer Craig says, “But a lot more. It’s a book about chasing the ultimate gig, the ultimate drum setup, the ultimate sound and, it will come as not surprise to Nick’s fans, the ultimate aliens, government conspiracies and anything else his muse sees fit to lay across his path.

His first performance was at the age of two on stage at the Montreux Jazz Festival when legendary jazz percussionist Jack DeJohnette (Miles Davis, Sonny Rollins, Joe Henderson) placed Nick on his kit. Thirty years later he was stepping out on stage in front of hundreds of thousands of screaming fans every night.

Menza, son of legendary jazz saxophonist Don Menza, was at the top of his game when Megadeth started a world tour in support of its album “Cryptic Writings” but began to suffer knee problems and escalating pain. Doctors diagnosed him with a tumor. Surgery waylaid the drummer briefly, but he was relieved to learn the tumor was benign and was eager to rejoin his band mates, who had continued their tour with a replacement drummer. But deteriorating relations within the band exploded and Menza was replaced permanently. What does Nick have to say about it all now?

“Buy the book it’s all in there!”

“Nick Menza: Megalife,” by J. Marshall Craig, is due in stores, in Kindle and eBook versions in late 2013.

J. Marshall Craig is best known for his critically acclaimed work as writer for Eric Burdon’s “Don’t Let Me Be Misunderstood,” Rolling Stones keyboardist Chuck Leavell’s “Between Rock and a Home Place,” West Coast hip-hop history “Guilty By Association” (Damizza and J. Marshall Craig). Author of more than a dozen books, his work has been translated and published all over the world.

For more information visit the new official Nick Menza site,

JAHMBI Release Official Video for “Dakota Fatting”

Watch it below:

Serving Up The Metal Meat