Reviews: Slomosa, Torso, The Nail, Stryper (Reviews By Joe Guatieri, Matt Bladen, Simon Black & Rich Piva)

Slomosa - Tundra Rock (Stickman Records) [Joe Guatieri]

Slomosa are a Stoner Rock band hailing from Norway. Their debut album was released in 2020 in the heat of the pandemic, I found it in 2021 after hearing about it on a random podcast that I listened to where the host drew comparisons between it and the first Queens Of The Stone Age album. Ever since my first listen I became obsessed with it to this very day, going on to see Slomosa twice live touring with Sasquatch and Elder respectively. It’s therefore safe to say that Tundra Rock was my most anticipated record of the year and now it’s finally here.

The opening track Afghansk Rev has us in undiscovered territory with the band as they give us their first take on an instrumental track. The slow drone in the background is immediately reminiscent of the opening to Blues For The Red Sun by Kyuss before we are dawned with chorus pedal effected bends which arch and curve into a hammer smash of distortion and continue to try and flutter afterwards while in distress like a bird attempting to battle against the elements.

Going on from that point, I would like to discuss the next two tracks in one, that being Rice and Cabin Fever as I consider them to be siblings of each other. Not only were they the first two singles off this record but they have a few similarities, they both carry on the instruments motifs from the first song, that being these rising and falling passages, I can relate it to the waterfall which spills across the album cover into the unknown below. 

They both also see Slomosa approaching new dynamics within their sound, for example, there’s a search for answers that takes place on Rice between 2:45 and 4:03, covering yourself from dangers above as the instrumental is brought right down to almost a whisper before waking up and baring your brave head again, ready for what’s to come.

Later still we go into track six with Battling Guns. Just before this though, piano chords are played and the strike of midnight to mark a moment in time. The song presents shifting verses at pace, feeling dangerous much like the track title suggests. Honestly, the first time that I heard this song was at 3AM in the morning and I cried and I couldn’t understand why at the time but now it’s all so clear to me. 

Battling Guns has three moments, the bass solo from Marie is heard loud and clear above the guitar riffage and plays with the trajectory from 2:24 to 2:55. Then from 3:00 to 3:53 Jard’s drumming is as smooth as butter and fits the rise in intensity from Benjamin and Tor’s guitars perfectly, before everything stretches out for relief like Jesus on a cross. Battling Guns is a beautiful song and is my favourite on the album.

Overall, Tundra Rock takes the catchiness of Slomosa’s debut and marries it with atmosphere providing more ideas and outcomes than ever before. This is a fantastic follow-up but they still have potential and are far from done. Slomosa are my favourite Stoner Rock band and I feel like that this album provides a very good reason for that. 9/10

Torso - Brain Cells (APF Records) [Matt Bladen]

It came from London in 2022 after the demise of Possessor, Graham Bywater's visceral horror thrash machine Torso shrieked bloodily from the grave with A Crash Course In Terror. Dirty, raw riffs, howled vocals, B-movie samples and horror themes are all pure Torso, continuing where he left off at the death of Possessor.

Brain Cells is the follow up to the debut and Graham again attacks his guitar and rages at his mic with more gore soaked nastiness. A bubbling blend of KISS schlock worship, hardcore thrash and even dirgy grunge, Brain Cells is a short stab of gruesomeness, oppressive and ferocious, though there's also a heavy influence of Goblin or Morricone on their Italian horror era, especially on the title track, which also features vocals from Lisa Bywater.

You Belong In Hell kicks off with the lo-fi fuzz, grinding bass and drums haunts Blood Frenzy as there's a shifting break on the psychedelic Savage Magic before more riffs come. Brain Cells is the follow up you would want, it's darker, meaner and takes a few more risks. This Torso continues to have a heart that beats to the sound of a Dario Argento score. 9/10

The Nail - The Nail (Frontiers Music Srl) [Simon Black]

Another day, another Frontiers Records Srl mash-up… or is it?

To be fair, Frontiers Records have been getting rather better at the kind of projects that are all about introducing new, younger talent across different markets, rather than their staple of career resurrection / Supergroup projects for label main man Serafino Perugino’s nostalgia list of 80’s Hard Rock and Metal heroes. I cite the label’s success with the likes of James Durbin as a great example of this and point out that they do well at finding such diamonds in the rough, giving them a shot at a broader audience than they might achieve on their own.

The normal modello operativo for the Naples-based label is to take such uncut stones and throw them together with a house production and session musician team, but this project is different (although, with the absolute keystone of that in-house approach Alessandro Del Vecchio recently parting company with the label after fourteen years perhaps the label did not have much choice…). The Nail (note the definitive article, and not to be confused with noughties Hardcore outfit Nails) is all about airing not one, but three such youngsters – Indian hot shot Girish Pradhan on vocals, plus brothers Efe (on guitars) and Reis Ali Eroglu (on pretty much everything else, plus most of the songwriting). Oh, and it’s produced by their dad, Cenk Eroglu. Maybe their mum did the catering too, but that’s not credited on the press release…

But you get the point – the usual Italian house team is not involved at all and that lends a different feel to the release, which for me is hugely positive, because in recent years that house style and team has lent too many releases a feeling of repetition when you have several of them coming across the review queue each month.

That leads me to the record itself. I’ve not come across any of the projects that this team has worked on previously and given that the multi-instrumentalist co-writer Reis Ali Eroglu is only seventeen, that’s perhaps not surprising. That’s why Frontiers previously de-risked such things by having safe in-house hands deliver the bulk of the work, but this family affair has their musical chemistry already pre-fermented, with frontman Pradhan being the one that has to fit into someone else’s groove. Which he does remarkably well…

The fact is the two things that work best here are Pradhan’s hugely entrancing performance and the moments of sheer shreddery from the elder of the Eroglu brothers, but unfortunately the writing is a little too by the numbers for me, with the rhythm section just really driving a straight edge complimentary backline, rather than feeling like a living, breathing band entity of more than one player on the backline. OK, I guess it’s almost impossible for anything in the safe and commercial end of the Hard Rock / Melodic Metal pond to sound truly original, but it can sound relevant and modern – in fact I would argue that it absolutely has to with so many potential substitute products in this crowded marketplace (especially when half of them probably come from the same label).

That said, this is not a bad album by any stretch, and one I could happily listen to throughout, but it does feel a little unfinished. That’s a direct consequence of having one musician, and a very inexperienced one at that wearing four of the six hats in the ring, but one easily fixed by bringing more players into the fold and sharing a bit. Promising, but a bit more polish needed on this particular rock is needed. 6/10

Stryper - When We Were Kings (Frontiers Music Srl) [Rich Piva]

Someone is still listening to Stryper. If not, then why would we have three new studio albums from the band since 2020? That is quite an impressive clip, so there has to be a fanbase out there for more of their hard rocking, Jesus loving, way over produced rock and roll. The latest record, When We Were Kings (I assume they are referring to 1986, but I could be wrong) is more of what the other ones from this decade and actually the past three or so decades have been with very little difference. Let me break it down for you if you don’t mind. 

First, these songs sound like the Stryper of the past 20 or so years. I am not sure if even the biggest fan could tell the difference between the songs on the last few albums. Second, the band actually sounds great and still has in musically. Oz Fox has been through a lot medically but, assuming he did most of the guitar work on here, still can shred. Third, people either love or hate Michael Sweet’s voice, but one thing is for sure is that outside of some potential studio wizardry (see point four) his voice still sounds huge. Fourth, this is on Frontiers, so it is immediately confirmed that it is way overproduced. Fifth, the band is leaning on in “heavy”, as Stryper continues to bring the more aggressive side, for them at least. Sixth, you are going to have to deal with Jesus songs.

So that being said, if you like Stryper, you will like When We Were Kings. The highlights include the opening rockers End Of Days that really gives Oz a chance to shine and he takes it on perfectly, Unforgivable, which has a nice chunky riff and more great playing by Oz, and Raptured that has a hair metal via heavy blues rocking riff and more of Sweet being Sweet. The band is best these days when really rocking out, so songs like Betrayed By Love and Grateful I could do without, but there are no really bad tracks on When We Are Kings, which is saying a lot for many Frontiers releases. 

The slickness will always get to me production-wise and there is only so much Jebus stuff I can take in my rock, but overall, this is a pretty solid release from a band who has been doing this for a very, very long time and have been counted out as many times as they have been praised. Good for them, and When We Were Kings is good for Stryper fans. 6/10

Reviews: Spirit Mother, Agrypnie, Eddie & The Wolves, Jade/Sanctuarium (Reviews By Rich Piva, Mark Young, Liam Williams & James Jackson)

Spirit Mother - Trails (Heavy Psych Sounds) [Rich Piva]

Spirit Mother is a US based dark psychedelic rock band that has been off my radar somehow until now, thanks to Heavy Psych Sounds bringing us their new album, Trials. Spirit Mother is full of atmosphere, with their swirling guitars, psych folk leanings, and full-time violin player leading that charge.  

There is a shoegaze vibe I get too, with some serious 90s influence ala bands like Swervedriver, Catherine Wheel, Slowdive, and maybe even very early Smashing Pumpkins. Band member SJ not only brings the violin to the party, as her haunting female background vocals partnered with Armand lead voice adds something even more ethereal to the ten songs on Trials, bringing a unique sound to the usual stable of HPS bands and a fresh take on some of the bands mentioned, with the Spirit Mother twist.

Trails opens up with the instrumental intro, Passage, that sets up for what the atmosphere of this record is going to be all about; dark, brooding, but not without some light via the psych guitar and the gorgeous background vocals.  The riff on the first full track, the title track, reminds me of the band Walin’ Storms, but Spirit Mother are a bit more contained than Walin’ Storms, as this track is darker and more beautiful rather than frantic and urgent. I love what the violin brings to this track and across the record.  Veins is in the same, but brings the 90s alt more to the table. There is a lot of this on Trials, which I am very here for. The layered vocals on this song are just great, and the band picks up that urgency I mentioned earlier and brings their version of heavy on this one, but never losing that atmosphere they have built. 

Emerald is a rocker in Swervedriver territory, which of course, rules, but maybe just a bit chunkier than that legendary band.  The middle part when it gets all noisy reminds me of something from Verve’s A Storm In Heaven, but again, Spirit Mother rocks more. Below slows it down, leverages SJs background vocals, and really screams 90s goodness.  I love how the guitar and violin pair up and the guitar work in general on this one.  Tonic is all about the violin and riffs, bringing me back to the Walin’ Storms comparisons with those more urgent vocals. 

I love when the band throws in these vibes, creating an excellent yin and yang effect to the running order of the ten tracks. Vessel is my favourite track as it has the quickest pace and has the band at their most rocking and shows they can bring the riffs when they want to. Voyeur is in the same category.  Given, on the other hand, is an acoustic driven track that is a bit spooky with the haunting vocals and violin ever-present. The closer, Wolves, starts out acoustically but launches into straight up 90s alt/shoegaze goodness that would make any fan of that genre and time very pleased. 

The 90s vibe is strong on Trials, not just musically but overall, (all the song titles are all one word, sound familiar?) but never is Spirit Mother a parody of that time in music. The band, via their psych and heavy folk leanings, male lead and female background vocals, and soft and atmospheric but heavy when they want to be direction, create an excellent record that is not your usual offering from Heavy Psych Sounds. Good stuff. 8/10

Agrypnie - Erg (AOP Records) [Mark Young]

Erg is the latest full-length release from Agrypnie, the post-black metal duo of Torsten and Flo, who between them have been incredibly busy since their inception in 2004, with erg their 7th album. Post-black metal is somewhat new to me, but I have to say that this is quite an experience. A good one at that. 

Aus Rauchlosem Feuer (ft. Phil Crone – Secrets of the Moon) explodes into a wall of sound. The fury is there, distilled by the drums whilst the guitar carves out its melodic path. It carries the same kind of approach that Heretoir has, in those ringing chords and it sounds mint. I had some misgivings at first, with that slowly developing start but that soon disappeared. The confidence in having the two opening tracks coming in at 7 minutes a piece is amazing. Meer Ohne Wasser is slower, more focused but still has those mint guitar lines ringing through. 

There is some magical stuff on this one, and already its shaping up to be one of those releases that you return to. Their build is just solid, a heady mix of apocalyptic assault and melody that permeates and creates a high bar for them to follow. In terms of following, Sturm (ft. Hupogrammos) comes in as this raw, almost primeval attack that evokes traditional black metal patterns. The drumming on this is just top-notch. Flo, possesses a supernatural touch and skill, putting fills in amongst the blasts. The drums provide a lot of support here, constantly moving and pushing forward and they are a delight. 

Blut is a two-part journey, and to me provides the first misstep. Part 1 is presented as an instrumental and is fine within the larger context but feels like they put the brakes on the momentum built so far. For me I don’t believe it makes the album any better for its inclusion and Part 2, if it had been on its own would have kept that momentum going. It does its level best to kick on and drag you along with it, the melody is there, the drumming but it now feels like it is on the back foot. Entität rights that almost straight away. With double bass firing like a minigun spitting bullets into the jungle of Val Verde, its like a controlled demolition as they pepper your ears whilst Torsten offers an almost subtle arrangement, of those ringing chords and keys. 

This is them leaving Blut in the distance, it is glorious, the choice of melody lines used is just spot on, and they manage to combine heaviness and clarity at the same time. It’s something they continue to do, mining a rich seam of inspiration with Stunde Des Wolfes going for the throat now with a newfound urgency in their attack, mixing up-tempo for the guitar parts, knowing when to speed up and when to drop that speed off. The speed parts are always welcome, but the songs fly when they are using those ringing lines whilst the drums are taking off. Keeping the speed picking to a minimum makes you sit up and listen to what is actually happening in the song and there is a lot going on here. I was getting ready to write off Geister as another instrumental until Torsten kicks in half-way through, offering more tortured vocals amongst another solid arrangement. 

Their final track, Unter Sand is where they bring it all together, and is the album distilled into one track. It has everything – the speed, melody, the clarity of the guitars, all pulled in to make an irresistible final track. It has an energy to it that belies its length, and it doesn’t lose any of its intensity from the moment it starts to the moment it finishes. That intensity is something that can be attributed to the album, each track grabs you and makes you listen, demanding your attention. The only gripe was the instrumental at the start of Blut, others may find it engaging but for me it was unnecessary, and it’s a minor thing especially when you have a collection of songs as good as this. 8/10

Eddie & The Wolves – Tasty Sin (Revolver Records) [Liam Williams]

A brilliant album by UK bluesy rockers Eddie & The Wolves. This album has a bit of everything in it. At times I can hear snippets of Aerosmith, ZZ Top and even some funky goodness which sounds very much inspired by Red Hot Chilli Peppers. A solid album which displays this bands musical talents very well. My favourite part of this album has got to be either the vocals, or the guitar solos. I can’t quite decide! Standout tracks for me are title track Tasty Sin which has some nice tribal sounding drums that come in just before an absolute facemelter of a guitar solo, very reminiscent of Crazy Train. 

Different Kinda Girl which has more of a funky blues sound. Nothing’s Gonna Stop Us is more of a ballad which helps to bring down the pace a little towards the end of the album. My only complaint about this album is with the last track, Crawling. It is a decent song but I feel it ends a bit too abruptly after the guitar solo and maybe could have done with being a little bit longer, maybe even fade out at the end instead of just coming to a stop out of nowhere. But all in all, a fine effort and a fun album to listen to. 8/10

Jade/Sanctuarium - The Sempiternal Wound (Pulverised Records) [James Jackson]

A first for me in the form of a split EP, from two Death/Doom bands based in Barcelona, Jade and Sanctuarium are quite entwined according to the press release, having shared band members, helped with recording duties and at times stepping into help on a more musical level; so a shared album would indeed make a lot of sense.

 
Up first are Jade, offering three of the five songs featured upon The Sempiternal Wound and their tracks, Third Creation, Cascade and Essential Formulas For Life Transition are probably more in line with a Melodic Death Metal style of songwriting than outright Death Metal, for while the trademarks of Death Metal are in full flow there’s a dramatic air to the songs, Cascade has a particularly interesting and memorable intro, a refrain which is later repeated to great effect.

 
Jade have a great sound, the songs are layered and composed with no small amount of detail and emotion, big riffs supported by an assault of drums allows the more melodic elements to weave themselves together perfectly and whilst I’m not a huge fan of the endless growled vocals, there is enough raw emotion bleeding through that it all feels so very right.

Sanctuarium are more on the Doom spectrum than their co hosts upon this EP, the proof of which is seen in the duration of their first track, Recomposition Of Carbonised Corpses, a title you’d expect more from Carcass than a Doom Metal band. The equally lengthy track Malodorous Osteophagy in Acrimony follows and both tracks are prime examples of raw, earthy Death/Doom; the chugging riffs, guttural vocals and melodic leads, for me it’s much in the vein of early My Dying Bride.

 
There’s not a lot to get into with only two tracks but musically it’s a pretty solid affair with my only gripe being the vocal style and levels, it’s low in the mix and more often than not sounding heavily echoed.

Overall a pretty impressive album though Jade most definitely has more of a draw for me. 7/10

Reviews: Legions Of Doom, A Killer's Confession, Zetra, Bones UK (Reviews By Rich Piva, Liam Williams, Mark Young & James Jackson)

Legions Of Doom - The Skull 3 (Tee Pee Records) [Rich Piva]

I guarantee there is not going to be an album this year or for the foreseeable future that will have more of a profound effect on me then Legions Of Doom’s The Skull 3. Eric Wagner’s passing in 2021 took a huge toll on me, given when and how and what we all were experiencing in 2021, and just how much he had been a part of my musical life for so long. Trouble’s Manic Frustration is not only my number two album of all time but is also one of the most important records in shaping what my musical taste is today. 

That love of Trouble extended to all of his projects, be it LID, Blackfinger, or what we will be focusing on for this review, The Skull. At the time of his passing, Eric was on tour with The Skull and was starting to put together the material for the next and third record from the band. This material was unearthed from his laptop by former Trouble and at the time of passing current bandmate Ron Holzner and along with The Skull guitarist Lothar Keller shaped what would have been The Skull’s third album but is now the debut from Legions Of Doom. There is more to this story, but rather than give you the history here, let’s talk about how killer the eight tracks on The Skull 3 are and how awesome it is to get one last contribution to our musical lives from the lost legend.

Legions Of Doom is a supergroup for sure, and that status is confirmed on the first track, Beyond The Shadow Of Doubt, with the legend himself Karl Agell (check out the Lie Heavy record) on vocals, along with the trademark sound and riff of The Skull. Karl’s vocals are amazing and he stays with his style rather than trying to fit what Wagner’s performance may have been, not that anyone could. This is pure Skull goodness, as the riffs and rhythm section pick up where the last record left off and elicits all sorts of emotions in me. The guitar work of Keller and Scott Little is pretty much perfect here. 

Same goes for the second track, All Good Things, also with Agell on vocals. This one is more up-tempo at times and has an amazing hook to it. The riffs, again, are killer, and Agell does his job like no one else could on a song like this. Amazing stuff. This is a song of the year candidate for sure. I may be a broken record mentioning the riffs, but I mean the riff on Lost Soul is something else. How about reaffirming supergroup status on this one with Saint Vitus vocalist Scott Reagers taking the leader here, delivering a different yet still killer interpretation of the vocals to Wagner’s lyrics. I love when the pace picks up on this one and the guitars just shred it up. 

A Voice Of Reason is what would be a ripper from The Skull’s point of view, as this one chugs along quickly and highlights the guitar work once again. Between Darkness And Dawn just rules, with Agell back on vocals, and sweet classic doom bassline to lead the way. This one of my favourite traditional doom tracks this year. I love the soft part during the first solo as well as Agell’s extremely heartfelt vocal performance. Agell gets his chance to rip it up on Insectiside, which reminds me of something on his Lie Heavy record, and is the most up-tempo rocker on The Skull 3. The solo reminds me of Manic era Trouble. The most obviously heart-breaking song is Heaven, the acoustic driven track with Eric Wagner’s own vocals. Just listen to it, I am not going to describe it. The Skull once again looms large on Hallow By All Means, where Reagers adds his trademark voice to the doomiest and low end heaviest song on here. A great way to close it out.

The Skull 3 is the absolute perfect way to celebrate Eric Wagner’s legacy and ensure that it lives on, finishing these eight tracks in the most respectful, realized, and straight up awesome way. Musically, taken all of the other stuff out of it, this is the traditional doom record of the year. Adding all of the other stuff around it makes it even more special. Legions Of Doom did this right, thank you, boys. 10/10

A Killer’s Confession - Victim 1 (MNRK Heavy) [Liam Williams]

This album by modern metalcore outfit A Killer’s Confession is nothing short of a masterpiece! The album is made up of 10 absolute certified bangers which will have you moshing and dancing from start to finish. They have effortlessly created a very unique blend of metalcore and nu-metal. Each member contributes a spectacular performance with the epic guitar riffs, groovy basslines and powerful drums. But I have to say the vocals from frontman Waylon Reavis are absolutely phenomenal and really stand out as the best part of the album for me, from his melodic clean vocals which at times remind me of Maynard from Tool, to his gnarly screams.

The first track Tongue kicks off the album with a fast tempo and ferocious energy which is followed by 2nd track Sun, which is more of an “arena anthem” with a slower tempo but very powerful choruses. Greed has to be my favourite track, from the sick metalcore riff in the intro and the massive breakdown halfway through with a very catchy chorus making this one which will surely get stuck in your head as it did for me. The album closes with the track Wasteland which I can only describe as being the result of sticking Tool and Rammstein into a blender and making a tasty smoothy. It shouldn’t work, but it does, and it works well. Overall, there is not one bad track. This album is an absolute blast to listen to and it’s definitely one I will find myself coming back to regularly, and I hope the same goes for some of you too! 10/10

Zetra - Zetra (Nuclear Blast) [Mark Young]

Zetra landed on my radar late last year, providing quality support to Svalbard on their national tour. Armed with corpse paint and some quality songs, the duo announced themselves as someone who could offer something different. Effectively, they consist of a guitar and synth to deliver (in their words) ‘Gothic heavy shoegaze’ but what they fail to mention is that:

A, it is chock full of riffs.

B, it makes you want to dance.

And yet I’ve genuinely found it difficult to write this review, in that I’m struggling to articulate why I like it. They don’t sound like anything I normally listen to and yet growing up in the 1980s, especially the early to mid-80s, there was a ton of synth-driven music in the charts, where guitars took a back seat. Vocals were delivered in soft and subtle ways, sometimes barely above a whisper. That approach carried over into the indie/alternative scene, often offset against a loud chorus, forming a template that exists today. Zetra use the softly driven vocals as a way of disarming whilst they deploy weapons of sonic destruction to get their hooks into you.

Suffer Eternally phrasing like it’s the 90’s, with vocals that are delivered so softly by Adam, and an incredibly joyous riff that makes this low-key opener come in, gently preparing us for Sacrifice, a strong, stabbing riff that forms a more balanced partnership with the synths. The way they stretch out their sound in the latter half whilst those vulnerable vocal lines are delivered over a hard-edged guitar is a prime example of how to write brilliant songs. Starfall (ft. Serena Cherry of Svalbard) starts with a piano line that is straight from the classic synth-driven pop of the 80s, with overdriven guitar rolling over the top and it’s a perfect arrangement. 

As they open up Serena’s extreme vocals come in and suddenly the balance is shifted, the light versus the dark. It’s refreshing that they don’t go heavy with the arrangement at this point as others would ramp up the sound as those vocals come in. They maintain that steady course and let Serena’s vocals do the heavy lifting. It’s simple but devastatingly effective at the same time. There is an excellent guitar line on The Mirror, it’s a brilliant riff on this one and is probably the most ‘gazed’ track here in the way they drop those chords during the middle section, and it moves like it wants you to get up and dance.

Shatter The Mountain (ft. Sólveig Matthildur of Kælan Mikla) makes great use of the additional vocals from Sólveig on another banger, as they explode out of the blocks with an immediate arrangement that steps back to an extent to provide that quiet/loud dynamic. The guest vocals are superb, providing an ethereal feel that is just fabulous. Their choice of guests (like Serena) bring another dimension to their songs and improves them. 

What you find is that with or without guests their songs have a quality to them, it Is the way they put them together in how they consider both the synths and guitar as equal parts, for example on Holy Malice it’s a slow burner, one that knows its pace and stays true to it. In other hands, it might have come across as dull, but they do enough with the arrangement so that trap is avoided. Inseparable occupies that same space, a sprawling piece that enjoys a synth-driven approach. It’s lush and has an almost hypnotic effect and leads us into Gaia which comes at us with their gaze shoes on.

Moonfall (ft. Gabriel Franco of Unto Others) then decides it wants to shake things up, as if they have been saving themselves for it. There is a harder edge to the guitars on this one, more of an aggressive tilt to it that is almost hidden. The arrangement is just class, and if I said that one of the reasons, I found it difficult to get my thoughts down was that the three songs – Holy Malice through to Gaia were quite similar in execution, albeit to a good standard. 

Moonfall is just light-years ahead of those songs. Once you hear it, you will know EXACTLY what I mean. It is in the vocals, the way it is phrased, the emotion within it, and the keys from Jordan come together to drop one of the songs of the year. After that soon to be classic, Miracle brings the album to a close. Running with the same energy as Moonfall, there is a triumphant feeling running through it, one that must come from putting together an album as strong as this.

I don’t think I have had this amount of trouble with a review like I did with this one. I liked every song on it, and wanted to get that across but even though realised that there was a lag in some ways before we got to the final pair of belters. Taken as a whole, it is a fantastic experience and one that I would recommend sharing with you. 9

Bones UK - Soft (Sumerian Records) [James Jackson]

There are a ton of genre tags attached to this band; Punk, Industrial, Blues, Electro Pop and the self proclaimed “Future Rock”, from my perspective the band, vocalist Rosie Bones and guitarist Carmen Vanderburg have created an album that at times sounds very personal, the desperation in the vocals of Knee Deep combined with a guitar solo that seems to carry just as much raw emotion, is a stand out track for me; other tracks upon the album are more vibrant, some more so than others, the lyrically intimate Teeth has quite a pulse to it, opener Bikinis is sultry yet full of swagger, so this turn of mood comes as a surprise.

Whilst there are elements of those genre tags I previously mentioned within the album, Soft is in my opinion more of a Dark Pop album with touches of Punk attitude and Industrial nuances that add emphasis to the already pulsing beats. This is Bones UK’s second album, their self titled debut album was released in 2019, five years after the band initially formed and whilst I’ve not heard the album, after listening to Soft I intend to give the debut a listen. Much better than anything I could have anticipated. 8/10

Review: Oceans Of Slumber (By Matt Bladen)

Oceans Of Slumber - Where Gods Fear To Speak (Season Of Mist)

As their previous album Starlight And Ash got rid of any of the extreme metal machinations Texan prog metal band Oceans Of Slumber had in there music before, you would be forgiven in thinking that they may stay on this more atmospheric, lighter, southern gothic sound. Moving towards a rock direction but no, thankfully for fans of of the quiet loud dynamics of Opeth and others, Oceans Of Slumber bring back the blistering blasts of death metal and growled vocals on Where Gods Fear To Speak.

Not only have they brought it back, but they seem more venomous than it has been before. Much of this due to their conflicting vision with their previous label who wanted more of the same but got them introspective but on Seasons Of Mist now they are able to spread their extreme metal wings again, more aggressively, while also having those Southern gothic, dark romantic notions, putting both together no matter if it's embraced it not, 

They have somehow gone more progressive with continuously shifting syncopated riffs from guitarists Chris Jones and Chris Kritikos, blasts of heavy, played in odd time signatures, but they haven't forgotten about their soulful, lighter side blending both better than they have before. I don't say that lightly as I'm constantly astounded but Oceans Of Slumber, consistently giving them high scores but this record I've played it multiple times. There's just something addictive about it. Whether it's the educated blast beats or evocative piano of Dobber Beverley (I Will Break The Pride Of Your Will) or expansive, cantering basswork of Semir Ozerkan, there's such a variation in the rhythm section, as the gothic moments are twisted into black metal, showcasing a band who are near the top in terms of talent but yet still aren't recognised as well as they should be.

I'll get the cover out of the way first as there's always a cover, the band even have an EP of covers. It's Wicked Game, a song that has been attempted by many bands, but here it has an added darkness, a gothic sensuality that's miles better than Tenacious D's recent effort. As far as their own songs go, the record follows a concept of future dystopia, the cinematic sound of the band always evident but again bolstered on this record, it's grandiose and epic, inspired by huge Hans Zimmer soundscapes and given Wall Of Sound production to fully involve the listener. Take something like Don't Come Back From Hell Empty Handed, the introspective Wish and Poem Of Ecstasy they still have the more mainstream, darkly romantic style they highlighted on their last album.  

So much of my love for the band comes from Cammie Beverley's incredible vocals, gospel infused brilliance which carries resonance and emotion so well counteracted by her newly acquired guttural stomach churning growls, experienced on the first time on the epic title track. She's in my to five singers list for sure, each note fitting perfectly to make you pay attention. Mikael Stanne of Dark Tranquility adds his rasp to the dramatic Prayer, as Fernando Ribeiro of Moonspell features on the gloomy Run From The Light, bulking what is already a fully stocked vocal delivery. Going back to Poem Of Ecstasy, Cammie uses some black metal snarls as they shifted between emotion and explosivity. It's the perfect pairing of the two sides of Oceans Of Slumber's sound. 

Each band aspires to make a record better than the one before, bigger than the one before and Where Gods Fear To Speak, feels like a culmination of Oceans Of Slumber's journey so far. Multifaceted and magnificent, it'll be in my AOTY for sure! 10/10

Reviews: APEP, Victory, Bodysnatcher, The Blacktones (Reviews GC, Paul Hutchings, Zak Skane & Rich Piva)

APEP - Before Whom Evil Dwells (War Anthem Records) [GC]

Having had a bit of a break from the death metal grind, today I am back on the scene and have the second release from German death metal band APEP, Before Whom Evil Trembles a completely new name for me and a quick read up says that there is a technical style attached to their sound but that’s about as much as I have been given!

It starts with blistering force and beautiful chaos on Enslaving The Putrefied Remnants Of The Deceased which is a whirlwind of pummelling death metal that has no room for any nicety and instead just is just set to all-out attack, there is a slight slowing of pace midway that maybe dulls the overall force of the song slightly but it’s a good way to begin and carries forward into The Pillars Of Betrayal but it doesn’t take long for the speed to return and the familiar death metal racket is with us again and while there isn’t much originality on show the way they put it all out there with a bucket load of conviction, makes for a passionate and endearing song, much the same happens on Tombs Of Eternity which is full of technical and dexterous guitar work with a fantastic drum showing as has been the way from the start and while I can admire what I am listening to and enjoy it.

I just cant shake the feeling that I have heard it all before and that’s not trying to sound harsh because it seems like to me it does take a lot to stand out if you’re in death metal band and if you haven’t got that x-factor to really stand out above the crowd it really can feel like a case of death metal deja’vu at times. Wanderers In The Waste is a little eastern tinged interlude and then it hits me like a brick falling from a pyramid, the sound is rooted firmly in the Nile-like Middle Eastern mindset and it has the familiar sound patterns but so far doesn’t fully live up to that lofty comparison. 

Then Goddess Of Carnage is unleashed, and it sounds just unbe-fucking-leavable!! and make you wonder why they have been waiting until now to show us what hey are really capable of playing, it is just an unrelenting and savage run though with not one note wasted and no slow parts it’s just a beautiful showing of how vital and invigorating death metal really can be and as the shortest track on the album so far really leaves its mark on you. The urgency continues with The Breath Of Kheti and will leave you slack jawed and slightly amazed that its taken this long for APEP to really open up and show there hand because if the first half of this record had sounded like this we could have been on course for an absolute worldie of a record and the Nile comparisons may have been actually considered, this is a breathless and savage, snarling assault on the ears in the best way and it is wonderfully relentless all the way to the end.

Then unfortunately we get the mammoth Swallowed By Silent Sands which clocks in at an unhealthily long and unnecessary 10:23 and with the marathon length we get back to the more paired back and slower sound which seems to go on, and on and on and on and just absolutely stunts the ferocity that has been building and feels like somewhat of a dissatisfying and annoying end to the album.

This album felt like a game of 2 halves for me and looking back now I can see that the first few tracks, while not really hitting as hard as I would have like they were building towards something furiously enjoyable but that burst of fantasticness didn’t last anywhere near long enough for my liking and also, for album that only lasts 7 songs to have an interlude/instrumental on it just seems lazy to me?? Anyway, a pretty decent listen overall that any death metal fan will no doubt enjoy but can’t see it troubling any AOTY lists or anything. 7/10

Victory – Circle Of Life (AFM Records) [Paul Hutchings]

I believe that Circle Of Life is Victory’s 11th studio album. We last encountered the German quintet in 2021 when they released Gods Of Tomorrow, their first album for a decade. It was described by Simon Black as “good but not great”, and I can see exactly why he said that at the time, for Victory don’t do anything that is mind-blowing but what they do produce is solid hard rock and heavy metal that could sit under the moniker of hundreds of other bands. 

A football analogy? The steady dependable goalkeeper who rarely drops a bollock, whose presence behind the back line is reassuring, dependable, but who is missing the flamboyance and dynamism of the risk-taking peer. Think David Seeman rather than Bruce Grobbelaar, if you are of that vintage. If not, contact the Editor, and I’ll think of a modern equivalent! 

Victory is, of course, the vehicle for German metal legend Herman Frank, the former Accept stalwart who has been the mainstay of the band since 1986. The current line-up appears to be settled, with Frank joined once more by singer Gianni Pontillo, Mike Pesin (guitar), Malte Frederik Burkert (bass) and drummer Michael Stein.

Ten songs of solid composition spread over 45-minutes. It’s not a chore by any stretch to listen to Circle of Life, but there is little to really spark the excitement. Tonight We Rock and American Girl, the duo that open the album, are reasonable if cliched. It’s all a bit one-paced, and on songs like Moonlit Sky the song just lumbers along with no real drive.

Musically I can’t fault it. The playing is impressive, Pontillo’s vocals are strong and powerful, and the guitar work weaves and winds its way through each song. One might call some of these songs anthemic. Falling is a posturing track that sounds just a little dated, a real 80s throwback, and whilst there is a polish here, it’s not holding the attention in any great manner. Money does have the riffs and hooks to draw you in, but it doesn’t really snare you in any great way.

That’s not to dismiss Frank’s lead work, which is a highlight, or the overall musicianship. But in a world of saturation, songs like Reason To Love, which is a rather drab semi-ballad, just fade into the ether. Sure, if you like melodic hard rock with harmonies and soaring choruses, then Circle Of Life might float your boat. Sadly, I’m sunk on the rocks, and although there is no danger of me drowning, I might not do much more than drift. 6/10

Bodysnatcher - Vile_Conduct (MNRK Heavy) Zak Skane

The brutal deathcore outfit that creates music that matches their grotesque imagery. The band has paved themselves away in the underground scene to be one of the brutal deathcore acts in the modern metal scene along side bands like Spite, Filth and Slaughter To Prevail. The band have got almost got ten years worth of brutality under their blood stained belts with releases like Abandonment, Death Of Me, This Heavy Void and Bleed Abide, whilst following their up and coming E.P, Vile Conduct.

Vile Conduct still comes with Bodysnatchers tried and tested formula of beatdown in cased Deathcore, but with Will Putney at the mixing and producing helm, the bands sound has become more refined than before. For example, the bands song writing has become more catchy as well as heavy on songs like Severed, which brings in the punches by taking us back with mid 2000’s influences with it’s pounding chugging patterns, tremolo lead playing and pumping breakdowns. 

Whilst also bringing this mainstream song structure approach that just gives this sweet and sharp catchiness whilst the closing track Say Goodbye brings in some rusted coated hooks. The quad tracked guitars that Will Putney engineers sound as crushing as ever before, especially on tracks like the opener Infested, which just hit you like a freight train from it pick digging tremolo sections to the colossal sounding beat downs. Another high light is the concrete slabbed riffs on the track Human Disdain, which the drummer and the guitarist create this brutal assault on the ear drums with those chugging kick drum patterns working in tandem, whilst the bass parts are wrapped in this crushing tone. 

The vocal tracks sit a lot more cleaner in the mix in comparison to previous releases, which gives the vocalist more of a platform to spew out the bile and venom filled lyrics that the band have conjured together, whilst Will Putney ensures the vocalist still keeps the aggression consistent, especially on songs like the bioweapon like catchiness of Severed, the hardcore delivered tag team from Jamey Jasta guest appearances on Murder8 to the vindictive closer on Say Goodbye.

Even though the delivery is short, it doesn’t soften the audio assault that Vile Conduct is willing to give. Will Putneys collaboration to the bands sound basically lifted the lighting out of it’s existing bottle and amplified it by putting it into the electrical grid. The breakdowns sound more brutal but yet dynamic, whilst the drums and vocals sound a lot more polished in the mix whilst keeping it’s serrated edge. For fans of Spite, Filth and The Acacia Strain. 8/10.

The Blacktones - The Longest Year (Sleaszy Rider Records) [Rich Piva]

While the name The Blacktones sounds like a blackened ska band that Moon Ska or Asian Man Records would put out, alas, they are actually a sludge band from Italy. Instead of unleashing the horn section on you they are bringing the absolute heavy on their third record, The Longest Year. This is some good stuff, combining heavy riffs, clear and screamed vocals, and some serious musicianship for fifty minutes of some high-quality sludge that starts to lean more towards cleaner modern metal, but still executed very well.

What makes it so good? Well take the first full track opener, The Threshold. You get some very cool clean vocals, answered by that scream, with this dreamy Deftones type vibe over the track. Now I don’t love the Deftones, but I think you will get what I am saying when you hear this one. Like you know how the Deftones wish they were a shoegaze band? Then you get it. The Blacktones tower over you on The Longest Year, with case in point being that opener and a track like Noise Pattern, when the band rips you up with riffs but still maintain that shoegaze meets sludge vibe that I can only assume they were going for. 

The band can thrash it up when they really want to also, check out about a minute into this one. There is a modern metal feel to The Blacktones as well, as Greenhouse sounds almost radio friendly, adding some synths to the mix with high quality results. A song like The Parade sounds more like Katatonia than anything remotely stoner, so I would use that as a reference point more than say, a band like Baroness or Mastodon, but either way this is some good stuff. The record may run a bit long and drag in some places, but overall, the third record from The Blacktones is big and heavy, a cleaner product but still sludgy, and worth your time. Check out The Longest Year. No horns necessary. 7/10

Reviews: David Gilmour, God Is An Astronaut, Vestige, Copse (Reviews By Matt Bladen)

David Gilmour - Luck & Strange (Sony Music CMG)

Pink Floyd is dead baby. David Gilmour said so. Each time he's been interviewed over his new album Luck & Strange, they ask him about the legendary British prog band he was a part of and it seems the split between him and Roger Waters is irreparable.

Don't fret though as there are 100's of Floyd tributes and at least three of them are brilliant, Nick Mason tours with Saucerful Of Secrets playing the pre-DSOTM material and for a long time David Gilmour has been a solo artist playing with all the emotion and drama he infused into Floyd's music for years.

Luck & Strange is his first solo album for nine years, again it has music written by David himself as the personal, romantic lyrics of Polly Samson, and Charlie Gilmour are sung with that oh so familiar voice, the strain of age starting to show on the title track where the highs break with fragility of a man who is 78 years old.

Much of the record was written and recorded during lockdown, between Brighton and London, alongside, friends, long term collaborators and family perform on the record. Yep Gilmour's daughter Romany sings and plays the harp on the reworking of folk classic, Between Two Points by The Montgolfier Brothers and the final number Yes, I Have Ghosts. Her voice compliments her father's well, with a similar timbre to Dido and many of the UK prog rock acts.

The title track has a long history, presented here in two versions the original elongated 'Barn Jam' version features keys from the much missed Richard Wright. Clad in an atmospheric, esoteric Anton Corbijn cover artwork, Luck & Strange is possibly the darkest, most experimental work to date as co-producer Charlie Andrew pushed him to write music that was naturally opposite to what people would historically expect.

Well that is with the exception of The Piper's Call which is 'Proper Floyd', though A Single Spark owes a debut to the likes of Nick Cave, while Dark And Velvet Nights is a smoky ode to long lasting love/lust and the Beatles-esque Sings which has plenty of Cümbüş Guitar, looks back on David and Polly's life together.

A record of nostalgia, set to a varied musical background that has the distinctive David Gilmour touch, Pink is dead but his spirit carries on here. 9/10

God Is An Astronaut - Embers (Napalm Records)

Hypnotic, sonic soundscapes are the order of the day for any God Is An Astronaut album, whether it's on record or in their live shows, the instrumental prowess and compositional mastery of the band always grabs the audience.

Things are no different on Embers, the latest offering from these Irish post rock veterans and it has brothers Torsten and Niels Kinsella alongside drummer Lloyd Hanney, taking along for another journey through genre and style. Be it post rock, shoegaze, krautrock or psych and many others in between Embers treats you to probably the most buoyant material the band have written, though the concept of our finite existence is the overarching theme of the record. Falling Leaves is dreamy, as Embers takes a synthwave route.

Odyssey leans on folksy acoustics with world music flourishes from Sitar and other eastern instruments as Dara O'Brien (not the comedian) and Sean Coleman bring their multi-instrumental prowess while the majestic Realms and Prism has the cello brilliance of Jo Quail. Another beautiful record from God Is An Astronaut who continue to be at the apex of post rock. 8/10

Vestige - Janis (Season Of Mist)

Vestige is the vessel for vocalist/guitarist Théodore Rondeau to exercise his demons, following an emotional journey that brought some kind of catharsis for all involved not just Théodore. Joining him are Pierre-André Krauzer on the bass, Quentin Regnault on drums and Thomas Petit on guitar.

Krauzer, Regnault and Rondeau were all part of Naraka who toured with Alcest, the reason why Alcest's Neige appears on Automne Part 2. Janis is a debut album that has been a long time coming the end of a personal journey the band signing to Season Of Mist to get their debut out there.

What about the music then? Well Janis is an album of atmospheric post metal similar to Alcest as they shift into the the progressive alt style of Deftones too on Corrosion, the layered guitars playing angular melodies against the grooving backline on Démence De l'Âme, but don't think it's all blissed out ambience, there's a bite to Vestige and while Alcest lean into black metal, they have more modern metal aggression with track such as Appel De l'Âme.

As they drift away with Avant la Fin, Janis ends in a beautiful way, securing Vestige as a band who have a bright future in front of them. 8/10

Copse - MMXXIV (Church Road Records)

MMXXVI is a compilation of both Copse's previous EP's, making a five track album at 40 minutes in length. For fans of bands such as Møl and Deafhaven, you could call Copse blackened shoegaze as dissonance and atmospherics sit hand in hand. There's a surplus of post metal too with Modrem leisurely making its way with a disconcerting ambiance that is broken several times in this 9 minute number.

Much of Copse's power comes from their use of pace and anticipation, the slow burning tracks build into raging flashes of extremity, screamed vocals and blastbeats with Mara the initial display of this, Old Belief the song that is the most direct and ferocious song here, counteracting their established song writing blueprints, New Despair though is a 15 minute way to reconnect with Copse's core sound.

Having already played ArcTanGent last year Copse are a band who show masses of talent and rather than searching for their EP's they are presented here for easy listening by Church Road Records. 8/10

Review: Winterfylleth (By Rick Eaglestone)

Winterfylleth – The Imperious Horizon (Candlelight/Spinefarm) [Rick Eaglestone]

As we come into the latter part of this particular trip around the sun, Winterfylleth return with a sonic blizzard rammed with a plethora of atmospheric black metal in the form of grandeur composition The Imperious Horizon.

Opening with icy soundscapes and an immediate ominous presence is the instrumental First Light which effortlessly weaves into the blistering Like Brimming Fire showing off an ever-evolving maturity and early on showing that seven releases in just why they are so revered in these isles. As a collective every element is meticulous and by the time Dishonour Enthroned has ended with it captivating narrative there is no doubt for me that is going to end up in a lot of lists this year.

Now although have playing this for what feels like an eternity and pre ordering different formats it is only now that I can sit down a fully digest and appreciate fully the spectacle that this album has formed into, recently the band have announced some accompanying UK dates and in particular I am very much looking forward to hearing the combination of the majestic Upon This Shore and title track The Imperious Horizon.

The longest track of the album In Silent Grace is a great showcasing of the bands musicianship and contains for the most part a slower more purposeful element that really has its own heartbeat with swirling solos and big drum patterns, the addition of Primordial also adds another dynamic.

To The Edge Of Tyranny brings a visceral tone with it, this time with prominent basslines and catchy riffs underpinned with real charge which is complimented with an acoustic folk laden piece Earthen Sorrow is melodic and melancholy in its own right and its short nature is a wonderful introduction to the final track The Insurrection which really completes this 8th releases by really encapsulating the overall aesthetic of the overall creation.

Guitarist/Vocalist C. Naughton commented: “In some ways, the album is a reflection on the mania of the years since the last album, how the world has changed for the worse, and moreover how we all feel like we are living in a more divided and upheaved world ever since! The title speaks to a looming sense of some dominant power or agenda that is coming, just over the horizon. It’s on its way, and we don’t know quite how it will manifest, but we know that it is creeping ever forward, and it is inevitable.”

There has certainly been an outpouring of feelings and emotions throughout this listening journey from utter joy to a deep wavering sorrow which I would not trade in for a single second it is quite simply my album of the year. 10/10

A View From The Back Of The Room: Nile (Live Review By Charlie Rogers)

Nile, Hideous Divinity, Intrepid, Pestifer, The Fleece, Bristol 05.09.24

Having very recently released a new banger of an album (please see my prior review for more info), it makes complete sense for Nile to hit the road and share the new tunes with the world. Stopping in at Bristol as the first part of their English/Scottish leg (it’s not a UK tour if you don’t come to Wales), The Fleece is an obvious and welcoming venue for bands of this high calibre. Despite the dismal weather heralding in the start of autumn, spirits were high and the crowd was dense, eager to partake in the desert rituals. First timers and repeat offenders alike, a palpable anticipation thrummed through the air as the first band of the night blasted onto stage.

Belgian tech death aficionados Pestifer (7) were a complete unknown to me before this show, somehow evading my attention despite being active for 20 years. Lots of groove, great use of fretless bass, and completely undeterred by being the opening act of the night, their performance was enthusiastic and captivating. 

The intricate riffs usually shone out over the roar of the drums, but sometimes got lost and muddy - either due to slight mistiming or perhaps the FoH sound not quite being dialled in yet. Still, an impressive enough performance to warrant further exploration, and find out what I’ve been missing out on over their 3 full length releases.

Next up, Estonian self described old school death metallers Intrepid (7) add yet more weight to the argument that in death metal, the better your drummer is, the better your band sounds. Blisteringly quick double kick and tight blastbeats punctuate the otherwise simplistic riffs, occasionally seasoned with flourishes of sweeps, tapping, and lead lines from stage left’s lead guitarist. Hogging 90% of the band’s charisma, the vocalist dominated the centre stage, eagerly leaning over the crowd to deliver his guttural barks and roars. 

Having attended 5 previous Nile tours, there’s usually a recurring theme with the support choices, and despite their solid playing I was wondering about the choice to bring such a different sounding band on board with the Egyptian themed headliners. Then, Intrepid played a riff and a lead line that featured that iconic eastern scale pattern, and it all made sense. Again, a band that’s been kicking about for nearly a decade now, but fresh and new to my dusty old ears, and they’ve left a good impression. Let’s see what they can make from this exposure.

Top support act of the night lands in the very capable hands of Rome’s Hideous Divinity (9), a terrific bunch of lads I’ve seen on multiple occasions in multiple countries. Sporting a new drummer after the recent departure of their long serving sticksmith, and also having released a new full length a few months ago, the Italian Stallions wasted no time in trotting out their fresh offerings to the eagerly awaiting crowd. Moving away from their initial intensity driven songwriting approach, the newer material takes more time to establish a threatening aura, which translates well to the live scene. 

The darkened room a fitting locale to tell tales of the OG bald terror that lurks in the night, Nosferatu, or the otherworldly horror of H R Giger inspired Xenomorphs in the song Chestburst. The band gelled together well, no doubt newcomers to the Hideous show would not have been able to guess that this line up is still fairly new to the touring circuit, and indeed is the first time it’s seen British soil. Using the full width of the stage, bass, guitar, and vocals all moved around, making sure that the whole audience got a good look at the members despite The Fleece’s pillars obscuring line of sight from some angles. 

An extremely solid show, but with a back catalogue as strong as theirs it would’ve been nice to hear a few more off some of the other records, but maybe that’s just me being salty they didn’t play my favourite of theirs - Bent Until Fracture.

Wrapping the night up like a well preserved mummy, Nile’s (8) entry to the stage was greeted by a deafening cheer of the eager audience. Those foolish enough to waste their time outside rather than watching the support acts scurried inside, and the crowd heaved with excitement as the South Carolina 4 piece opened their performance with long time fan favourite Sacrifice Unto Sebek. Having recently also undergone a lineup change, this was also the first time this setup had graced us with their technical prowess, with head honcho and founding member Karl Sanders beaming to see that despite the changes in his support players, the audience never ceases to demand his brand of mythological worship. 

That said, with any new band structure, there are going to be some teething issues. Sometimes there was some confusion on stage as to who was supposed to be doing which vocal - not a simple task when 3 of you are sharing duties - and for whatever reason the lead channel for new guitarist Zach Jeter was way louder than everything else, leading to his visible confusion every time he went to play a solo. It was a solid set, which featured a host of new tracks from the new album, interspersed with classics and staples of the band’s set. Nile have earned their spot at the high table of death metal gods, and their continued ability to deliver solid live shows, despite a few technical hiccups, demonstrate this utterly. 

While this wasn’t the best I’ve seen them, it’s certainly one of the best shows I’ve seen in a long time. It’s high time the Nile show came back to Wales, let’s see if we can make that happen on their next visit!

A View From The Back Of The Room: Mangata Spotlight Sessions (Live Review By SJ)

Mangata Spotlight Sessions, The Old Cold Store, Nottingham, 31.08.24

Mangata Spotlight Sessions (8) showcase artists who have appeared or who may appear in Mangata Festival, generally focusing on local artists/bands. The Old Cold Store got its name as it was a room that used to keep the beer cold. The venue was quite active before the start time with the bands and crowd mixing outside getting in some preshow drinks and laughs.

The relatively new metalcore band, Frame The Hero, were first up and the headbanging already started from their first song, demonstrating their already formed fanbase. Their debut song Paper Chains, Dead Behind The Eyes and Seconds I Waste (The 1st song they wrote) all displayed the singers’ heavy vocals. Spliced in between the songs was humour and comradery between the members, making the crowd laugh. 

Next up were Close Ties, the 5-piece metal band who brought a lot more energy to the stage. This was their first time performing in Nottingham and they certainly left a mark. They performed their new song The Under and ended on The Great Divide, with one of their songs focusing on grief “Say your last goodbye.”

The crowd did start to thin out a little for the next band, Skitz Wizards. The hardcore punk band with no guitar but two bassists. There was a bit a of reverb during this set however they still put on a powerful performance. Following Skitz Wizards were CaveKiller who combined their death and metalcore influences and predominantly heavier vocals. At one point they got the crowd to get low to test our squatting abilities.

All the way from Brighton is Glass Grave, the four piece metal band. The lead singer could control the lights by using foot pedals. They came off the stage and into the crowd which roared them up. They ended their set on a high with 12 Rounds. Another fairly new group, Eschalon, formed in 2023 are a tech metalcore band with two vocalists. They got the crowd headbanging and singing along to their music. The penultimate act, Wolves Don't Sleep also put their all into their performance.

The headliner of the night, Seething Akira, are such a standout group! They always bring the energy and tonight was no different. They blessed us with some new songs and classics such as Punishment Instructions which got the crowd riled up. Mosh pits formed; the crowd was singing along which just amplified everyone’s enjoyment as quoted by a member of the crowd “Your mind can refuse as much as it wants but your body cannot resist the infectious energy.” Charlie and Kit both came down into the crowd to join in the commotion and pump the crowd up more.

Between sets, everyone congregated outside to get fresh air and recharge for the next band. The black walls and stage elevated the lighting and matched the vibe of the bands individually. Throughout the night there were a few audio problems, such as the mics not being loud enough, the sub-woofer issues, but everyone still put their all into giving us all a good night of music - and they succeeded.

Reviews: Isolert, Silvernite, Edouarth, Ventirati (Reviews By Matt Bladen)

Isolert - Wounds Of Desolation (Non Serviam Records)

Another Greek black metal band as Isolert release their third album Wounds Of Desolation. It's an intense record of black metal soundscapes where the tremolo picking is thick and fast, both guitarists in unison on tracks such as Where Dreams Die that adds melody to the punishing blastbeats and agonising vocals.

Formed in 2015 they have always tried to add melodies to the black metal sound but here the addition of another guitarist has given them a more layered and complex sound, allowing the guitar playing to be more melodic but also more aggressive. A track such as Spewing Venomous Gloom is given a heavy mid-pace chug but lots of leads and solos, while Herald Of Demise is musically similar to Greek extreme legends Rotting Christ.

If you like black metal vicious, raw and badly produced then you'll probably overlook Isolert but for anyone that wants more rounded production, melodic guitar/leads and everything a bit bigger then seek out Wounds Of Desolation. 7/10

Silvernite - Lost City (Self Released)

Fire up the Delorean as we take a trip back to the 80's with synth wave rockers Silvernite. Full of retro nostalgia, this Greek band are a four piece comprising of vocalist MariAngela, guitarist Nash G, synth player Strutter and drummer Minas Chatziminas. So as you can see no bassist as the synths and guitars form the lead instruments, like Bob Katsionis' video game soundtrack album or much of what The Midnight do, even having Artem Zhulyev add some slinky 80's sax on Road To Eternity. 

Silvernite love sci-fi, neon and big anthems that tell a story. Be it the sturdy opener Angel Eyes, the throbbing title track, the pumping Last Stand the industrial thrust of Tafusam's Rage or the poppy Come N Love Me, there's a bit of something for everyone, be it synthwave, AOR or just melodic rock. Silvernite are a unique band, with their hybrid sound that will win them a wide audience. 7/10

Edouarth - Stray Beat (Sleazsy Rider Records)

James Edouarth is the drummer/singer of Greek thrashers Spider Kickers, his bark is evident on this NWOBHM inspired album but here he plays bass, this is because the guitarist and drummer of the band are James' sons, 12 year old George (drums) and 10 year old Peter (guitar), read those ages again, then listen to the album. I can't criticise music played by kids too heavily, as they are kids, however I don't really have to as they are both extremely talented.

NWOBHM is supposed to be reasonably easy, talk to anyone who was around at the time or listen to any of the early records and the genre born out of punk is quite simple, but as it grew got more melodic touches and became more complex. Eduoarth play music inspired by the bands such as Raven, Tokyo Blade, Anvil and Angel Witch, a bit nastier, heavier and rawer than many of the bands that went off on more melodic tangents, Edouarth bring doom and gloom to Dying Inside and Born In A UFO but the majority of this record is entertaining if you're amazed by young talent and like the classic NWOBHM sound. 7/10

Ventirati - Victorian (Sleazy Rider Records)

I saw the words darkwave and psychobilly, hmm, ok let's give it a go. Formed in 2000, before disbanding in 2005 they reunited in 2023 and their newest album is Victorian. That's about all the info I can give you about the band other than the line up of theirs trio contains no drummer just guitar, bass and synths.

The moment you press play there's an instrumental that leading into Book Of Lies, which is a song you could predict from space; jangly guitars, electronic drums and low vocals bringing the sounds of Sisters Of Mercy and The Misson, Myrtale picks up the pace with a rhythm that will be sure to pump out of goth disco stereo's.

Then they add some folk textures to Victorian Night, a dirge to Mad Dog as Fallen is more melodic but keeps the low vocals. It's all pretty standard goth rock but enjoyable enough, if your way to enjoy things is brooding and smoking in the dark. 6/10

A View From The Back Of The Room: Kickin' Valentina (Live Review By Debby Myatt/Photos To Come By Tony Gaskin)

Kickin Valentina, The Midnight Devils and White Tyger KK’s Steel Mill, 30.08.24

We’re back at KK’s this evening for a night of Glam Slam Sleazy Rock!

East Coast Sleaze Rockers Kickin Valentina have brought over touring buddies The Midnight Devils to join them in bringing old school rock and roll to our shores.

First though we have the pleasure of local lads White Tyger (8) to open up proceedings. Having seen these guys a couple of times at smaller local venues we were excited to see how they would perform on a much bigger stage. Well, we weren't disappointed as they owned that stage.

Originally formed nearly a decade ago as a bit of fun playing covers of their favourite 80’s rock bands, they have developed into a fully fledged rock band that would have been right at home next to those heroes of theirs. This is no nostalgia trip, they play heavy riff laden rock anthems full of hooks, that whilst tipping their backward baseball cap to that era, it’s done in a way that seems fresh and modern. Keep an eye out for these guys as they hit the road in the New Year to promote their upcoming album Vanilla Circus. 

From hair metal to full on Glam as a maelstrom of back combed hair and spandex explodes onto the stage in the form of The Midnight Devils (9) Opening up with the thunderously rousing track Sound Of Damnation, a pure glam anthem that lights the touch paper for the rest of the set.

Front man Sam Spade is outrageous in his swagger, a cross between Paul Stanley and Dee Snider, strutting his stuff, glowing in glitter and make-up. I was not lucky enough to catch The New York Dolls, but Spade has somehow captured the essence of that era as he pouts and points at the crowd, throwing glowing devils horns into the mass of sweaty rockers and imitation 69 dollar notes soon followed. 

Drummer, Jimmy Mess is just as chaotic, like a whirling dervish up on the drum riser, but guitarist Sniper manages to pull it all together, unashamedly playing homage to the late, great EVH (they do a great cover of Panama) with his coolness amongst the madness! Somehow, Spade ends up in the middle of the crowd to end the show, resplendent in a feather fringed pink kaftan, a fitting end to a glamtastic show!

From the outrageous to the cool, as sleaze rockers, Kickin Valentina (9) take to the stage. This East Coast gang soon show that they can play and bang out that LA sound along with the best of them. Frontman D. K. Revelle is the epitome of cool, in his mirrored aviators, leather gloves and baseball cap. From the moment they hit the stage, Kickin Valentina wasted no time in delivering a relentless barrage of anthems. 

Revelle commanded the stage with his powerful and gnarly vocals. His energy was infectious, engaging the crowd with his banter and bravado. The majority of the set was formed from tracks from the new album, Star Spangled Fist Fight, with the highlights being Ride Or Die, Man On A Mission and the title track .

Kickin Valentina's show was a high octane roller coasterl ride from beginning to end. Their music is a celebration of rock 'n' roll, and the show was pure, unadulterated fun. If you're a fan of sleaze rock or simply enjoy a good time, Kickin Valentina is a band you don't want to miss.

Reviews: Arild Brøter, A Forest Mighty Black, Dead Daisies, Lusca (Reviews By Mark Young, James Jackson, Rich Piva & Liam Williams)

Arild Brøter - A Spectre Of Sounds (Apollon Records) [Mark Young]

Something a little bit different now, as we take a tumble into the world of 007 with a selection of instrumental arrangements given an update by Arild Brøter. Rather than go down the traditional route of refreshing the main theme song, it’s a deeper dive into the music that underpins key scenes and is offered as a firm labour of love.

A disclaimer: I know I go on about instrumentals, complaining about their inclusion elsewhere and I suppose that my doing a review of an album chock full would seem as if I’d performed a 180. I haven’t, the context is different. And besides, it’s James Bond, and it has probably my favourite piece of Bond music which is the theme from On Her Majesty’s Secret Service, which is given a rather respectful make-over as Suite Part 1. It doesn’t depart from the original arrangement and doesn’t add downtuned guitars but rather there are additional flourishes that are perfectly sat and make it that little bit better. 

I guess there are two ways it could have gone – either respecting the material or going down the crazy route such as the K-Tel disco movie themes that were popular once. I also appreciate that they have tried to update certain themes originally written to ape a particular sound. This is the case in Bond Meets Solitaire (Live and Let Die) which originally was set within the Blaxploitation era now comes across as slightly sleazy as opposed to being a touch cringe.

There are some absolute belters on here, some such as the John Barry Suite had me wracking my brain as to which film they were in originally. There is a real care in how they stitched these different pieces together (Octopussy to The Man With The Golden Gun to Thunderball) and they shouldn’t work together but they do. The electric lead work on this one is spot on, and again it's completely in keeping with the original arrangements. 

Journey To Blofeld’s Hideaway (OHMSS) is glorious and manages to convey both a feeling of joy and a melancholic feel over its length whilst Space Laser Battle (Moonraker) receives a make-over that updates it for a modern audience but could have done with a bit of trimming in all honesty. Each of the themes is recognisable and there is fun to be had in working out which film it has come from. 

Another cracker is Snow Job – Flight Into Space (combining A View To A Kill and Moonraker – did I mention that Moonraker could contain the greatest Bondism? Apart from stabbing that anaconda with his pencil. It has that ‘Bond?! What does he think he is doing? I think he’s attempting re-entry sir….’ Class) which is delivered so well.

And then they drop 007 Theme (Little Nelly Theme), which gets the overdriven guitar treatment and sounds better than the original. Instantly I’m thinking of You Only Live Twice and the gyrocopter battle over Japan. It’s brilliant stuff, probably due to the source material being so familiar and because it’s not Deathcore/Melodeath.

The digital release has 20 tracks on it and the quality doesn’t drop in the execution on each number. They take in Diamonds Are Forever, The Living Daylights before it wraps and these are good, but for me the highlights are the OHMSS / Little Nelly themes which capture the spirit of the originals whilst improving on them and it also highlights just how good the original scores were. 

I would have liked to hear their version of Lulu’s The Man With The Golden Gun, which is just filthy, but you can’t have everything. This should hold a massive appeal to Bond fans, and I think that Arild and the fellow musicians should be proud of what they have done here. It treats the source with respect, its not cheesy and there are some exceptional moments on here. 8/10

A Forest Mighty Black - The Hedonist (Go Down Records) [James Jackson]

Hailing from Italy, this five piece Stoner Rock/Grunge band release their sophomore album this year, following on from the highly praised Chemical/Physical released in 2018, the band cite bands like QOTSA, Soundgarden and Alice in Chains as influences and as a “sounds like”, from listening to the album I’d throw Black Stone Cherry in there too, certainly not for the Southern tinge that BSC carry but there’s a similar tone and swagger to that featured on The Hedonist.

Lyrically the content covers such existential themes as human nature, the essence of Good and Evil within our society and personal daily lives, what truly comes across however is not the lyrics but the way in which they’re delivered by vocalist Costin Bursoc whose style very much fits in with the Stoner/Grunge style.

Each track upon The Hedonist delivers a powerful sound, utilising tempo changes to create a diverse atmosphere, a balance between the more laid back riffs of Stoner and the angst driven sound of Grunge, gives the songs a sense of motion, so often a track can stall for not having the insight of breaking the boundaries of the chosen genre but here the songwriting is more creative and the songs better for it.

For genres and influences that I generally don’t bother with, this album has been a pleasure to listen to and I know that I’ll be playing it again in the near future. 8/10

Dead Daisies - Light 'Em Up (The Dead Daises PTY LTD/SPV)

The Dead Daisies have a new album. This statement will create excitement for some and a big meh for others. I can go either way with their material, but the new one from this version ever changing and rotating lineup band, Light ‘Em Up, is pretty good. This version of the Daisies is lead by the now returning vocalist John Corabi and the guitar work of Doug Aldrich who has been with the band since 2016. 

If you know anything about the two guys I mentioned you will also know what the new record sounds like; straight ahead, sometime generic, other times killer, hard ass rock. Light ‘Em Up is more good than bad. Actually, there is nothing bad. I would say most is good, but maybe not all that memorable overall. This is the problem I have with the Dead Daisies. I like them and enjoy their work, but never go back to the record after the first couple of listens. This one feels like the same thing to me.

Sure, the title track is a fun little hard rock ripper. So is the second track, Times Are Changing. I’m Gonna Ride sounds like The Cult with Motley Crue’s other singer singing and the band definitely would have loved to have been ZZ Top, given songs like Way Back Home and Take A Long Line. I really like the almost grungy Back To Zero. I really could have done without Love That Will Never Be. Overall, the record is fine, it is there. It exists. This is the problem.

There is some really good hard rock on Light ‘Em Up, but once I finish this review, I will never go back to this again. This is the inherent problem I have with the Dead Daisies and the new record does nothing to fix that for me. 6/10 

Lusca - Blood & Promises (MT Records) [Liam Williams]

This 7 track album by German’s Lusca is a fine example of industrial doom metal. It pairs your typical sludgy sounding doom metal riffs with some electronic elements which compliment each other quite well. 

Complimented by a pretty good mix overall there are some parts I feel that the guitars should have been lowered slightly and the bass should have been turned up a notch to let it have a bit more room, especially in the first couple of songs. 

The vocals too are good but could have done with a bit more variation, but that is just a little nit-pick from myself. In relation to the genre the vocals fit well. The drums are programmed well and really help drive the rhythm of the songs.

As for the tracks themselves some of my favourite on the album are Savage Dominion, Marrow and Fractured. In Savage Dominion there are some parts which give me similar sort of vibes as some songs by KMFDM. Marrow, to me, sounds like an ancient machine powering up for the first time in over a 1000 years and I think it would be a good song to use in a horror movie. Fractured is my favourite song in terms of the lyrics and vocals. A brilliant song to end the album on. 

Although I do think the first half of the album is a little bit weaker than the second half, I did enjoy listening to this so much that I had to listen to the entire album a couple of times before I started writing this review. And then once more whilst writing the review. So it’s definitely worth a listen to! 7/10

Reviews: Officium Triste, Curse The Son, Solitary, Castle (Reviews By Mark Young & Rich Piva)

Officium Triste - Hortus Venenum (Transcending Obscurity Record) [Mark Young]

Checking online, Officium Triste came into being back in 1994 and have consistently released music in one shape or another since then. Citing bands such as My Dying Bride, Anathema and Paradise Lost, gives you an indication of the sound and style they are going for. 

However, fair reader, I don’t have that much experience with those bands as this style was not my cup of tea back then, and it has been a gradual exposure to it since I’ve been writing for this site.

Behind Closed Doors, starts with a delicious keyboard arrangement that smacks of classics such as Phantasm, as the guitar and some of the deepest growls come in you are grabbed immediately. They patiently build with a descending pattern that is offset with a melodic line that just fits. It is not flashy it is just effective. 

Pim Blankenstein’s vocals are something else, absolutely prime example of what a death vocal should sound like. My Poison Garden, If you imagine that having found their range on Behind, they take those ideas and twist them around, the chords that they pick are just mint in conveying a dark emotion. Each part is measured so that it naturally follows on. It's heavy too, don’t worry about that and as it wraps, it does so on another quality guitar line.

Anna’s Woe, Well you can kind of guess how this is going to go, and you would be right. It is melancholic, the interplay between the repeating keys and the guitar as the drums carry out an aerial assault and keep the song moving. Just based on Anna’s Woe, it is apparent why they are held in such high regard. 

The closing lead break is spot on, opting for emotive play rather than squeezing a million notes in. It is a song and half, absolutely fantastic stuff and leads us into one of the high points, Walk In Shadows, with its slow beat and expansive keys, that death growl once again is just phenomenal. They manage to build such an all-encompassing atmosphere with consummate ease. The spoken word piece that comes in, that’s done tastefully without affecting the song in any negative way.

The way they have managed to write two songs of a similar length that are both bangers is just incredible. They make them seem shorter than they are, which for me is the mark of great song writing. Forcefield is heavy from the off, there is a fabulous Black Sabbath pedalling riff, think Children Of The Grave before it bursts forward with a strident build, dropping a lead break in, before they pull the handbrake and slow down, ready to close out with a Sci-fi section that has that triumphant measure to it. 

The final minute is them bringing the curtain down, with some note-perfect drumming and then it’s the final track, Angels With Broken Wings. Strings starts this final journey off as they add layers to the sound, expanding it as the guitar and voice comes in, combining to deliver a majestic and haunting song which is probably one of the best closing songs you will hear.

This gentle arrangement suddenly changes gear, possibly aware that they couldn’t sustain a 10-minute track without a touch of the heavy. As quickly as it comes, they push back and refresh the opening moments, revising to add a darker edge to it. The arrangement used for the strings is excellent, and once they add the guitar to it, it becomes a completely different beast. It is an exceptional piece of music, and it is fitting that they left this for last. 

It is the highpoint of highpoints for this album, and I know that I have limited experience of this genre, but what I do know is that right now, this is one of the albums of the year. 9/10

Curse The Son - Delirium (Ripple Music) [Rich Piva]

I was lucky enough to interview Ron Vanacore for my podcast (cheap plug for the Rich & Turbo Heavy Half Hour, listen where you get your favorite podcasts!!!) (I'll let it go this once - Ed) and the main man of the Connecticut band Curse The Son gave me insight to a band that I already love that made me love them even more. Not just because the new record, Delirium, is amazing and probably their best, but because of how thought out the band has been over their 15-year career.

The themes, the lyrics, the album covers, the overall experience, there Is nothing not planned out about Curse The Son, and that kind of attention to detail and to your craft is something to be seriously commended, especially when you are able to build a band that listeners can pick out as the Curse The Son sound. For me as a listener that loose storyline arc or at least continuous vibe across all of the material continues on Delirium, cementing the band as one of the best heavy stoner doom bands around and one of this reviewer’s overall favourites.

Why do I love Delirium so much? As I mentioned, it sounds likes CTS, which right off the bat is a winner. Ron’s trademark voice and guitar tone is there in all of its glory across the nine tracks that all just kill. Ron’s songwriting has stepped up too, keeping the dark vibes ever present but deepening his lyrical content even more.

All you need to do is check out the one-two punch of the opening tracks, This Suffering Is Ours and Deliberate Cruelty (The Extermination Song) to know what I mean. I love all the tempo changes and different riffs you get on both of these tracks. The guitar work is killer too, especially on Deliberate Cruelty. Ron has no qualms about wearing his influences on his sleeve, so it makes perfect sense for the lesser known Witchfinder General track, R.I.P., to standout on Delirium, both as the first single and placed prominently in the running order.

CTS’s take is amazing, making it their own while honouring on of their favourite and most influenced by bands. The perfectly named instrumental Riff Forest is just that; riffs as far as the ear can here, with that trademarked tone, constantly crushing you for just under six minutes. If a riff blasts in the forest, you most certainly can hear it. 

Speaking of riffs, In Dismal Space continues with another killer one until we decent into the doomiest and most plodding track on Delirium, with Ron’s vocal performance on this one maybe his best ever. What a song. The hazy psych instrumental interlude Brain Paint leads into the title track that flat out rules. The riff, the vocals, the lyrics, the tempo changes, this is one of my all-time favourite CTS songs. The closer is no slouch either, as Liste Of The Dead is low end doom here to rattle the windows.

Curse The Son has a plan, and has executed that plan perfectly across the last 15 years and five records, with Delirium being the pinnacle. This record is amazing, and knowing now that Ron has had his son join the band as the new drummer (he did not play on the record) makes this experience even more glorious. It seems strange calling something so dark glorious, but this is what it is; a perfectly dark and wonderful record that should be experience by all who love heavy and dark music. 10/10

Solitary - Embrace The Darkness (Twisted Into Form) [Mark Young]

And now, a touch of UK thrash metal.

As we know, life is a constant cycle, a churn if you will of what is new and exciting before it becomes stale and old. This is especially true of thrash metal and for some you will never get better than the golden years of 83 to 90 (that is my definition of the golden period, other’s may vary). This is the period where the classics were released, the big 4 established themselves as well as others such as Exodus, Testament and Sacred Reich set and refined the blueprint for what Thrash should sound like.

So, having lived through that first phase sometimes anything that comes after feels a little pale. Even some of the bands that are still doing it can have moments of brilliance but run out of steam. But it’s not all doom. There are some bands out there for whom the love of thrash never waned. Bands like Inhuman Nature, Duskwalker, and now Solitary, who have been flying the flag for UK thrash since 1994 and are now entering their third decade and have just decided to drop a corker.

Once the spoken word intro wraps, we are straight into it, Embrace The Darkness writing the mission statement for the songs that follow. It’s got that blend of riffs, chunk and double bass which is essential. Its furious and given that this represents their 3rd decade it feels as fresh as a band who is just starting out on their musical journey. 

There is a zip to it, especially on the frantic Settle Scores The Old Way, its full on and in your face possessing a classic arrangement that could have come straight from the golden era with a delivery to match. It is a love letter to classics, and Solitary have zeroed in on what makes it essential. Bury It Now screams in, 3 and half minutes of pure downpicking goodness including a lead break that can melt faces at 20 yards.

They also know when to dial that speed back, delivering a gut-stomper with Beneath The Surface that shows that they just don’t rely on playing fast, they are equally as comfortable in writing the slower tracks that still capture the essence correctly. Remember earlier I mentioned about energy? There is no let-up in the attack here as they blast through song after song. 

From the incendiary The Disappeared to the absolutely furious Divided And Demented (vinyl only bonus) that possesses that forward stomp and the pre-requisite face melter to the final pairing of Filtering Hindsight and Beat The Bastards (CD only bonus) which only cement this as being a valuable addition to UK thrash. Of the former, it has that classic thrash swing to it which carries it forward whilst the latter has more of a punk vibe to it and acts as a suitable closing track here.

Embrace The Darkness has a lot to offer within its 36-minute run time. It captures the spirit of classic thrash metal and doesn’t let up from start to finish. It has razor-sharp riffs in every song, and top-class drumming that manages to combine speed with keeping the band on point. There are no ballads, orchestral interludes or any wasted moments. Its full bore from start to end and I might as well say that if you are not a fan of thrash then you should look elsewhere. 

It doesn’t break any new ground but does provide you with 30 odd minutes of visceral and thrilling music, which is what you want from a thrash metal release. 8/10

Castle - Evil Remains (Hammerheart Records) [Rich Piva]

As we hit September and head into fall, what’s better than a Pumpkin Spice Latte? How about some spooky and evil proto stoner doom from Castle for the first time since 2018! The San Francisco, California band is back with a worldwide record deal with Hammerheart Records and their follow up to the awesome record Deal Thy Fate, Evil Remains. 

I first heard of Castle via that last record as I obsessed over the Ripple Music back catalog a few years ago, but it has been a while and I thought the band was done, but alas, they are back and possibly better than ever on album number six (yes six!). Some reference points would be bands like Doctor Smoke, Sahg, Early Moods, Wytch, and Witchcryer, but the trio is not some generic proto band with female vocals.

Castle has and still does stand out, and Evil Remains does so even more, as this is their best sounding record with Elizabeth Blackwell’s vocals having never been recorded better. Her and her partner in crime Mat Davis are as tight as ever too, case in point the opener, Queen Of Death, with the killer riff and evil proto vibes combined with the layered male female vocals that just rule. I have been trying to find who Liz and Mat brought in as a drummer but could not find a name, but whoever is playing is doing a great job on these songs.

The next track, Nosferatu Nights, highlights the aforementioned vocals and killer guitar work and may be my favourite track on Evil Remains, especially all the cool tempo changes and that chugging guitar. When the pace slows and the band dooms it up, look out, like they do on Deja Voodoo, lead by Liz’s bass and killer vocals once again. 

The title track has my favourite riff and is where that Witchcryer and Wytch comparisons come across, but I feel like Castle brings it even heavier than those two great bands. Do I even hear a little bit of psych guitar work from Davis on this one? Nice. Black Spell is the real ripper of the bunch and their take on a modern version of some NWOBHM goodness. We get some vocals from, perhaps, Satan maybe, at about the 2:30 mark too.

Chunky proto doom is what it is all about as the album heads towards finish, with the very cool 100 Eyes that once again gives Davis his platform to show his killer guitar work and She (not a Kiss or Kitsa cover) that is Blackwell’s time to shine, and I especially love how the male vocals are woven into the song towards the end. The closer is killer too, the very evil Cold Grave. 

I am not ready to say the eight tracks on Evil Remains is the best work Castle has ever done, but it is right up there with the rest of their great discography. This is the best sounding record of the bunch and the under 40-minute run time is a perfect listening experience. Castle is back, and let’s hope Evil Remains is their announcement that they are here to stay. 8/10