Opening up the album The Moon brings in some huge anthem vibes with the lead guitars bringing catchy solos and some driving group woahs phrases thrown into the mix. Following this we get some gentle sparking acoustic arpeggios whilst the angelic appearances of Emma vocals comes into accompaniment before the track crescendos into chunky power chord grooves that build it up to choruses filled with heavenly vocal melodies and arpeggios based solos.
Magical Powers ramps up the heavy with it’s metalcore styled machine gun precise breakdowns accompanied with some neo classical styled lead playing. The vocal arrangement brings in some venomous Arch Enemy styled harsh vocals before they are met with the operatic choruses which rise us into the heavens before it pushes us down into the dirt with some pounding breakdowns. Words On A Letter closes the first half of the album by bringing in some Metallica and Judas priest styled riffage, whilst huge tribal drums are gathered in the pre-choruses and followed blissful vocal harmonies that are orchestrated in the choruses.
Finally opens up the second part of the album on a major note, with the uplifting choruses being elevated by 80’s sounding key boards making this the most pop sound track on the album that features some awesome keys and guitar solos trade offs mixed in some groovy off beat hi-hat grooves. They may have gone soft for five minutes but don’t be alarmed because Right Now comes back with some heavy sounding riffs and furious thundering sounding double kick grooves followed by some twin lead assault before dust settles with their closing track Obsession.
Obsession throws every music style to the wall whilst making damn sure it sticks. It goes from Latin pop with it’s Spanish guitar styled strummed riffs accompanied by vocal trade offs and rumba styled drum beats. The track performs this perfect balancing act with it’s Latin elegance and it’s pounding modern metal grooves before it fits in a short piano before the final chorus closes it.
Attractive Chaos released a strong follow up to their to previous release The Fire Between Us. The chemistry between the members is still running strong, from their strong slab of metal to their exotic takes of Latin and 80’s pop. The bands flawless ability of the throwing any genre to a wall and making it stick is astounding, resulting at carving deep path to their defying future. 8/10
The Exploited - Punks Not Dead & Troops Of Tomorrow (Cherry Red Records) [Rich Piva]
As a kid growing up on Long Island and investigating every record store, I could ride my bike to, I used to see The Exploited albums on the shelf all the time but only went as far as checking out the dude with the crazy mohawk on the cover of their records and tapes. Something so punk rock as having a haircut like that was a bit to crazy and scary for this sheltered suburban kid, so I probably bought Look What The Cat Dragged In, but were their haircuts really so much better? It was only in my college years that I understood how cool and important the The Exploited were to UK punk and the punk scene overall.
The Scottish band was huge in the UK, with both albums and singles making it into the top 20 of the charts. Their music, message, and influence were even bigger than their fleeting success, influencing thousands of kids to pick up an instrument and rage against the machine (before it was really cool to do so, you know, in the 90s.) They were not first, and sometimes they were slagged off in the press, but you cannot discount what they did for punk. So, let’s all thank, once again, Cherry Red Records, for brining us a cool package of the band’s two biggest studio records, Punks Not Dead and Troops Of Tomorrow, in one nice package with bonus tracks for both of these legendary punk records.
The Exploited’s first record, Punks Not Dead, is titled to literally tell the world just that after many thought that was the direction the genre was going in or was already at. This is working class punk rock, loyal to the first wave of the 70s and resolute in keeping that flag waving. The album made it all the way to number 20 on the UK charts on the heels of tracks like Army Life, Dogs Of War, Exploited Barmy Army, Ripper, and the title track. It is a must listen for any fledging punk rock historians who have not heard it before. Along with the original 15 tracks you get another 15 B-sides, alternative versions, and live cuts, making this pressing worth it for newbies and fans alike.
Also included is the band’s second album, Troops Of Tomorrow, which I prefer of the two. It is rawer and is straight ahead thrash punk that influenced a number of bands from the US punk/thrash/crossover scene, like Agnostic Front, DRI, and SOD. I love the face ripping opener Jimmy Boyle, the killer Daily News, Sid Vicious Was Innocent, and the Mr. Bungle covered U.S.A. Cherry Red gives us some extra treats here too in the form of six additional rarities to make the completists very happy.
While the band always seemed to have to justify their existence and their credibility, there is no denying how important The Exploited were to punk rock overall. As usual, Cherry Red is here to help us understand this, so go pick this up and teach yourself something about punk rock history. 8/10
Warlord – From the Ashes To The Archives: The Hot Pursuit Continues (High Roller Records) [Paul Hutchings]
We touched on Warlord earlier this year when Free Spirit was released. American’s Warlord were one of the classic metal outfits who specialised in a brand of epic metal that the likes of Manilla Road, Sentry, Cirith Ungol and any band that plays at Keep It True Festival deliver.
Whilst Free Spirit was a new studio release with a new line-up, From The Ashes To The Archives is a limited edition released to mark the band’s summer shows. It’s basically re-recordings of the 2002 album Rising From The Ashes but with the new line-up and some original parts by founder William J. Tsamis, who died in 2021.
Eight tracks spread over 45-minutes allows Warlord to flex their mega muscles in a way that will appeal to anyone who enjoys the fantasy lyrics and riff heavy metal that the band play. Tracks like Invaders, Winds Of Thor and Achilles Revenge give you an idea, as if you needed it, of the content.
Without wishing to sound cynical, there’s very little reason I can see for this album being released. The music is okay, although some of it is very ponderous and dated. It’s defiantly rooted in the 80s, and songs like Achilles Revenge with it’s dual Maiden-esque guitars have that giant feel about them for sure.
Ultimately, if you like this band, then this reissue is going to be on your list. If you aren’t a fan, I cannot for one minute see you rushing out to buy it. A solid but probably unnecessary release. 6/10
Thotcrime - Connection Anxiety (Prosthetic Records) [James Jackson]
Blending electronic elements with more traditional metal instrumentals is not as rare as it once was, a surge of movie soundtracks from the 90’s helped pave the way in regards to mashing seemingly opposite genres together with a variety of results. The influx of metalcore bands adding techno, cyber, dance elements to their craft has pushed the crossover into the mainstream a bit more; it’s no wonder then that the amount of bands exploring this venture is increasing.
Thotcrime, the band consists of members from the UK and the USA, their third full length album Connection Anxiety builds upon a catalogue of EP’s, remix albums and guest appearances.
Their sound is primarily an energetic mix of hardcore riffs and samples, blending quite pop like elements with blast beats and near black metal vocals; there are moments where everything gels exceptionally well and every track has a touch of something different to it.
It soon becomes apparent though that sometimes less is more and the blending genres gets muddied as one sound competes and conflicts against the other rather than work in unison as it ought to; vocally at times this is also the case, both female and male voices can be heard throughout the album and at times they work really well with the music they accompany, at other times not so much. And that’s the general feeling that I get from this album, that at times it’s strong and coherent, others it’s too eclectic for its own good. 5/10
The Exploited’s first record, Punks Not Dead, is titled to literally tell the world just that after many thought that was the direction the genre was going in or was already at. This is working class punk rock, loyal to the first wave of the 70s and resolute in keeping that flag waving. The album made it all the way to number 20 on the UK charts on the heels of tracks like Army Life, Dogs Of War, Exploited Barmy Army, Ripper, and the title track. It is a must listen for any fledging punk rock historians who have not heard it before. Along with the original 15 tracks you get another 15 B-sides, alternative versions, and live cuts, making this pressing worth it for newbies and fans alike.
Also included is the band’s second album, Troops Of Tomorrow, which I prefer of the two. It is rawer and is straight ahead thrash punk that influenced a number of bands from the US punk/thrash/crossover scene, like Agnostic Front, DRI, and SOD. I love the face ripping opener Jimmy Boyle, the killer Daily News, Sid Vicious Was Innocent, and the Mr. Bungle covered U.S.A. Cherry Red gives us some extra treats here too in the form of six additional rarities to make the completists very happy.
While the band always seemed to have to justify their existence and their credibility, there is no denying how important The Exploited were to punk rock overall. As usual, Cherry Red is here to help us understand this, so go pick this up and teach yourself something about punk rock history. 8/10
Warlord – From the Ashes To The Archives: The Hot Pursuit Continues (High Roller Records) [Paul Hutchings]
We touched on Warlord earlier this year when Free Spirit was released. American’s Warlord were one of the classic metal outfits who specialised in a brand of epic metal that the likes of Manilla Road, Sentry, Cirith Ungol and any band that plays at Keep It True Festival deliver.
Whilst Free Spirit was a new studio release with a new line-up, From The Ashes To The Archives is a limited edition released to mark the band’s summer shows. It’s basically re-recordings of the 2002 album Rising From The Ashes but with the new line-up and some original parts by founder William J. Tsamis, who died in 2021.
Eight tracks spread over 45-minutes allows Warlord to flex their mega muscles in a way that will appeal to anyone who enjoys the fantasy lyrics and riff heavy metal that the band play. Tracks like Invaders, Winds Of Thor and Achilles Revenge give you an idea, as if you needed it, of the content.
Without wishing to sound cynical, there’s very little reason I can see for this album being released. The music is okay, although some of it is very ponderous and dated. It’s defiantly rooted in the 80s, and songs like Achilles Revenge with it’s dual Maiden-esque guitars have that giant feel about them for sure.
Ultimately, if you like this band, then this reissue is going to be on your list. If you aren’t a fan, I cannot for one minute see you rushing out to buy it. A solid but probably unnecessary release. 6/10
Thotcrime - Connection Anxiety (Prosthetic Records) [James Jackson]
Blending electronic elements with more traditional metal instrumentals is not as rare as it once was, a surge of movie soundtracks from the 90’s helped pave the way in regards to mashing seemingly opposite genres together with a variety of results. The influx of metalcore bands adding techno, cyber, dance elements to their craft has pushed the crossover into the mainstream a bit more; it’s no wonder then that the amount of bands exploring this venture is increasing.
Thotcrime, the band consists of members from the UK and the USA, their third full length album Connection Anxiety builds upon a catalogue of EP’s, remix albums and guest appearances.
Their sound is primarily an energetic mix of hardcore riffs and samples, blending quite pop like elements with blast beats and near black metal vocals; there are moments where everything gels exceptionally well and every track has a touch of something different to it.
It soon becomes apparent though that sometimes less is more and the blending genres gets muddied as one sound competes and conflicts against the other rather than work in unison as it ought to; vocally at times this is also the case, both female and male voices can be heard throughout the album and at times they work really well with the music they accompany, at other times not so much. And that’s the general feeling that I get from this album, that at times it’s strong and coherent, others it’s too eclectic for its own good. 5/10
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