Reviews: Mother Of Millions, Supersoul, Major Denial, Silked & Stained

Mother Of Millions: Sigma (Vicisolum Productions)

Mother Of Millions are a Greek progressive/alternative rock, their second album is 46 minutes of epic compositions and a masterclass in album tracking. From the discordant spoken word/instrumental of Emerge it hooks you with its moody atmosphere, the sound of one keening guitar gives way to minor piano chords as choral sense of dread builds with an industrial thump. This is washed away by the technical staccato riffage, down tuned bass and flaring drums of Shine which plays well with the quiet/loud dynamic as Kostas Konstantinidis guitar relentlessly plays a clean fluid lead in the background as the rhythm section of builds to the chorus which repeats the opening djent riff. The tracks are multi layered pieces that require your undivided attention, it's not a record to play in the car, best enjoyed alone through headphones only then can you hear every minute aspect to the bands brilliance.

I mentioned about the sequencing earlier and MoM have it nailed every track is used to flow seamlessly into the next and as Shine takes you into the 7 minute Silence you hear another side to their sound with the bass of Panos Priftis prominently featured against the jazz percussion of George Boukaouris. Later as the record progresses the heavy Rome transitions into Their Passage, The Light with Eastern themes and traditional Greek instrumentation, the drama of Collision is brought by the synths and samples of Makis Tsamkosoglou.

The music is so cutting edge it'll trim your hedges for you but with such impressive instrumentation the vocals need to be something and George Prokopiou voice is something special he has a voice unique to many of those in this kind of music angst ridden, soaring, defiant, gruff and empowering he takes many forms throughout this record and on every track he commands you to listen. Cinematic music for intelligent minds Mother Of Millions (who are named after a plant that is near indestructible and reproduces at an alarming rate) have followed up their debut with an album that is simply fantastic, it's everything a progressive rock fan could want with an ear to the mainstream. Buy this record now! Is it too late to change my Top albums of 2017? 10/10

Supersoul: Faith Bender (Self Released)

Athenian band Supersoul are dead ringers for the modern blues sound of The Royal Blood adding some fuzzy desert rock of QOTSA and the jangling indie or Arctic Monkeys (Jacob Williams) throughout the 14 tracks on this record you get no hint that the band are Greek, even the spoken asides in the thundering Gold have a cockney accent to them. If you didn't know better you'd swear the band have crawled out of the Hipster central Shoreditch.

The trio lock into grooves throughout, the bass and drum riffs strut like John Travolta in Saturday Night Fever, the guitar is fuzzy and explodes with flashes of solo brilliance Blackhorse. They aren't averse to widening their horizons taking the modern street blues of Beck on the slinky Divine, or the classic soul rock of The Black Keys on Wrong Side Of Suicide (just listen to the bass on it and try not to bang your head). As the album nears it's conclusion the woozy Down By The River leads into the title track. It's a great album if you like modern garage blues get it on and get rocking. 8/10

Major Denial: Duchess Of Sufferings (Self Released)

Greek progressive metal act Major Denial release their sophomore album Duchess Of Sufferings 2 years after their debut EP and they have once again, made a record that effortlessly merges tough power metal with the intelligent prog metal of bands such as Queensryche or Nevermore. Soaring vocals are backed by complex riffs as a touch of drama cuts through the record with tracks such as Rise With The Dawn having the progressive nature whereas others are a s straight as a die.

It's a dark record there isn't much happiness in the lyrical content and the music too is darker than most but it means when vocalist Yannis Papadopoulos (Beast In Black) songs in the higher reaches he counteracts the heaviness of the rhythms Nektarios Ntagkas (guitar) and Panagiotis Haramis (bass) as do the solos of Achilleas Diamantis (lead guitar). The album doesn't set the world alight but it's a competent record that sticks to a sound and for any fans of this style it'll satisfy. 7/10

Silked & Stained: Love On The Road (Lions Pride Records)

First of all it's a terrible name, when I first heard it it made me think of our local curry house which is simultaneously silked and stained. However much like the Tandoori Mahal this record is has the odd tasty morsel (Bombshell), some guilty pleasures but unlike Indian cuisine Love On The Road is served with a massive stinking wedge of cheese, gorgonzola to be precise. The ballads such as Hold My Hand sickly and the rockers strive so much to be on the radio I'm sure the Devil is inking his pen.

When AOR is good it can be really entertaining but when it's as mediocre as this it makes for hard going. The vocals are not particularly good, almost sub Graham Bonnet, I'll say the guitar playing is pretty good but that's about it, the record just had too many mid-paced pop rockers to really get the heart racing. 5/10

Reviews: Motörhead, Venom, Defacto, Hollow Earth, Aerodyne (Reviews By Paul)

Motörhead: Live In Bonn, 12 December 1996 (Motorhead Records)

The good people of iMotörhead.com provided the faithful Motörheadbangers with a special treat this Christmas with the release of a previously unreleased recording of Motörhead live from Bonn, Germany. Recorded on 12 December 1996 at the conclusion of the Overnight Sensation European Tour, the release coincided with Lemmy’s birthday and the second anniversary of his death on 28th December. It’s a superb recording, even if the crowd sound distant in the mix. The band is on fire, a well-oiled machine, with the interplay between Lemmy and Phil Campbell first class. Opening with a blistering Iron Fist, the band tear through Stay Clean and Sex And Death in record time, before Phil and Lemmy demand that front desk manager Dave ‘Hobbs’ Hilsden turns the volume up, Lemmy promising the present of deafness for Christmas! Civil War from Overnight Sensation leads to Metropolis, Lemmy’s Rickenbacker bass lines rampaging like a lead guitar and Phil’s bluesy soulful playing mixing magically.

Burner is possibly the fastest track the band had ever written and they demonstrate it with aplomb, a ball-busting charging track which speeds along before crashing into the classic The Chase Is Better Than The Catch. Lemmy’s much missed gravel-soaked delivery brings a lump to the throat, his inimitable delivery and dry humour with the crowd reinforcing why the man was so loved in the rock and metal communities across the world. The blues and rock ‘n’ roll formed the foundation for all Motörhead’s music and nowhere is that more noticeable than on Overnight Sensation with its relentlessly addictive riffage and No Class, which despite its title is one of the most brilliant tunes Motörhead ever wrote.

The set is bursting with classics but also recent material with the pulverising Sacrifice from the 1995 album of the same name and by now you are truly appreciating the sheer athleticism of the beating heart of the band, drummer Mikkey Dee whose powerhouse drumming remains impressive and leaves you wondering if he’s now slightly under-utilised with the Scorpions. The blues soaked rock out of You Better Run from March Or Die and Broken from Overnight Sensation alter the pace before the home straight and a five-track finish which will better any band in the world. The epic Killed By Death and Going To Brazil precede the always powerful Bomber and then it’s the double finish of Ace Of Spades and a pummelling Overkill. 21 years after its recording, Live In Bonn provides another reminder, as if one was needed, of the full force of Motörhead at their best. Play it Loud. Play it Often. Magic stuff. 9/10

Venom: 100 Miles To Hell EP (Spinefarm Records)

A three-track limited edition from the original black metal gods shot across the bows just before Christmas. A gift from Cronos, Rage and Dante, which smoulders with malevolence. The bass is as slipshod as ever, massive and in your face whilst Rage’s guitar work slices and churns. Dante’s drums are huge, bashing the fuck out of everything in the way Venom always do. Fused with a punk attitude, the three tracks here are a timely reminder that whilst Venom Inc can also lay claim to the Venom throne, Cronos’ distinctive vocal always comes up trumps. Of the three songs, it’s the title track that kicks hardest, with a thunderous groove underpinning the rampage. Stirring stuff. 8/10

Defecto: Nemesis (Prime Collective)

Formed in 2010, it’s been a busy two years for Copenhagen progressive metal outfit Defecto who released their debut Excluded in 2016 and followed it with album number 2 Nemesis in late 2017. The dramatic operatic intro to Nemesis, The Final Night Of Silence is reminiscent in many ways to the intro tapes that UK metal legends Hell use; in fact it’s almost identical, with soaring strings, chiming bells and thick organ chords with thunder and rain lashing down. Opening strongly with the title track, a spiralling fist pumping song, which allows vocalist and guitarist Niklas Sonne to immediately validate a powerful and rich melodic voice. Intense interplay between guitar and keyboards provides confirmation that whilst progressive, Defecto also lean to the heavier end of the melodic metal spectrum. It’s clean singing, harmonies throughout but with sufficient edge to have those who like their metal served with a portion of heavy nodding their heads. Endlessly Falling follows, a track full of pomp accompanying some chunky riffage and a chorus with a tasty hook. Plenty of effects litter the album but let’s take nothing away from the quality of the songs.

Savage has elements of Audrey Horne with its melody, The Nameless Apparition features a meaty riff before it opens out into a heavy yet melodic thumper. Interestingly and perhaps less effective is the occasional burst of guttural vocals which appear out of place. Ode To The Damned is a schizophrenic beast and a good example; growling vocals and crashing guitar compete with cleaner vocals and a synth heavy riff, pummelling drumming accompanying the duel. At seven minutes long, it really needs to be the centrepiece of the album and it just about succeeds with some neat guitar work rescuing the track around the four-minute mark. In complete contrast, the album closer, another seven-minute track, Ascend To Heaven, which appears to be intended as a dramatic closing tune but unfortunately turns into a bit of a Jekyll and Hyde song, beginning in soft rock ballad style but morphing into melodic death metal with piano with some Dream Theater style time changes. It’s all a little disjointed and confusing. Overall, it’s a decent sophomore release which certainly had me turning it up at times. 7/10

Hollow Earth: Out Of Atlantis (Self Released)

If retro rock ala Pink Floyd around A Saucerful Of Secrets floats your boat, then Hollow Earth may well be your thing. The Swedes journey back in time to early Floyd and Deep Purple for a 40+ minute trip which sits firmly in the decades of the past. The band, Cristobel Nemo on organ, guitar and vocals, Don Pharaoh on bass and vocals and drummer Rod Handel V, noodle and meander their way through six tracks, starting with Electric Eden and climaxing with the lengthy and snooze inducing Behind The Ivory Gate. Whether there is anything in Out Of Atlantis which can introduce a new slant on old ideas and genuinely excite is debatable. It’s not really something that got me fired up. In fact, a nice cup of tea was probably more of a thrill than first listen. Not my bag man. 6/10

Aerodyne: Breaking Free (Street Symphonies Records)

Another review, another Swedish band. Aerodyne formed in Gothenberg in 2016, apparently from several other outfits. Breaking Free is their debut album and is a routine slab of hard rock with some astonishingly 1980s lyrics. A bunch of stolen riffs (e.g. Setting Hell On Fire = Thin Lizzy’s Are You Ready) and little originality combine to offer little to excite. Citing a range of classic rock outfits amongst their influences, it’s a surprise to see Steel Panther absent with lyrics such as “Spread your legs and show me you’re a lady” (Comin’ For You).  If I saw these in a sunny field with a beer in my hand I might watch for a bit. However, if I want the 1980s then I’ll dig out my old school stuff. I’m afraid it’s just tepid and tired in 2018. 5/10

Reviews: Orphaned Land, Watain, Legion Of Wolves, Hellish God (Reviews By Paul)

Orphaned Land: Unsung Prophets & Dead Messiahs (Century Media)

It’s been five years since All Is One, the epic and possibly breakthrough release from the Israeli outfit. It’s fair to say that the band have hardly kept a low profile since then, with several world tours and festival appearances, collaborations and the release of the 25th anniversary Orphaned Land and Friends earlier in 2017. Unsung Prophets & Dead Messiahs is the first album to feature guitarist Idan Amsalem, who replaced Yossi Sassi back in 2014.

Once more the band has served up a treat with a magnificent release that builds upon their previous albums, intricate pieces nestle comfortably alongside the straightforward death metal passages. The band has reached extensively into their oriental and Eastern toy box to superb effect, with bouzouki, xylophone, saz, oud and piano all blending with the guitar work of Amsalem and Chen Balbus, the percussion of Matan Shmuely and the reliable thunderous bass lines of Uri Zechla.

With multiple female backing vocals, often in a choral style, as well as guest appearances from Steve Hackett, Hansi Kürsch and Tomas Lindberg (At The Gates) the album opens with The Cove, an eight minute epic which comprises multiple layers, time changes and styles, careering from biblical to death vocals with ease.

Vocalist Kobi Farhi is on magnificent form, his soaring call to prayer captivating. Several shorter tracks follow, ranging from the crushingly heavy We Do Not Resist through to the more traditional Yedidi, as we embark on a typical journey which encapsulates the Orphaned Land approach; protest, resistance, joy, tragedy, anger, all encapsulated in anthemic and poetic compositions.

It’s rare to get a truly jaw dropping track on an album but that’s exactly what happened when Chains Fall To Gravity permeated my speakers. An uplifting message is enveloped in one of the most beautifully sensitive and graceful songs I’ve ever heard. Farhi’s vocals coated with velvet yet full of defiance and steel. Like Orpheus follows, a powerful composition with Blind Guardian’s Kürsch’s vocals to the rising chorus fitting seamlessly.

The fusion of sounds continues with My Brother’s Keeper, a union of several styles which works brilliantly, whilst the six minute Take My Hand maintains a thumping beat with bouzouki, strings and crunching riffs all allowing the mellow tones of Farhi to weave his lyrical storytelling.

Penultimate track Only The Dead Have Seen The End Of The War, often apparently mistakenly attributed to Plato opens with haunting sirens that blend with some beautiful string sections to create an image of horror before the track rampages with the arrival of some brutal death vocals from Lindberg. A change in tempo half way through provides respite before the whole thing erupts again, Farhi and Lindberg’s guttural strains contrasted by choral voices and chanting, whilst the whole track is smoothly underpinned by thick synthesisers. The Manifest – Epilogue with its simple message concludes a quite magnificent release which I think is their finest to date. 10/10

Watain: Trident Wolf Eclipse (Century Media)

Sweden’s Black Metallers Watain return with their sixth album, a short but brutal affair. The band’s last release in August 2013 was The Wild Hunt, which as well as being double the length of Trident Wolf Eclipse, contained tracks which moved far away from the ritualistic onslaught one has come to expect from this band. The range of diversity displayed in the previous release is limited in comparison on Trident Wolf Eclipse which returns to the more traditional black metal approach. Eight songs, all under five minutes in length and dripping with searing riffs, battering drums and Erik Danielsson’s guttural malevolence in the vocal department.

Plenty of groove underpins the tracks, such as Furor Diabolicus, a rampaging beast which haunts the soul and tears skin from flesh in equal measure. The core of the band remains with Danielsson’s demonic bass lines combined with the blisteringly fast drumming of Hakan Jonsson and Pelle Forsberg’s slicing axe work. At times majestic, the towering A Throne Below, at times full on in your face, Nuclear Alchemy, Watain’s return, along with the controversy they inevitably create, as well as a headline show at Bloodstock in August has already stoked the fires in 2018. An imperious return. 8/10

Legion Of Wolves: Bringers Of The Dark Sleep (Self Released)

On those rare occasions when an album grabs you the throat and pins you against the wall you inevitably must play it again to check your faculties are still in the right place. The debut release by Dublin death metal outfit Legion Of Wolves is one such album. Dripping with the groove of Lamb Of god and a host of death metal outfits, Bringers Of The Dark Sleep seeps into your pores, infiltrating the soul and converting your heart to a brutal ball of blackness. The combined riffage of Arkaduisz Kupiszowski and Annatar interacts with all the confidence of a stadium level act, whilst the backbone of the band, drummer Jason Connolly and bassist Piotr is built more solidly than the All Blacks front row.

Up front the truly guttural rasp of vocalist Chris adds the finishing touches. The album really is a stomping beast, from the opening title track, the sheer power of Grond (Hammer Of The Underworld), a reference to the mighty hammer wielded by Morgoth in Middle Earth and also the name of the 100ft long Orc battering ram used to breach Gondor and the sheer infectious channels on Plague Of The Immortal, complete with demolition drums and a demonic vocal performance. There really is no hiding place from the onslaught, the vicious riffs which peel out of your speaker on each track grab you tightly alongside the unearthly growls and snarls of Chris. Not that you’d want to hide. A storming debut. 9/10

Hellish God: The Evil Emanations (Everlasting Spew)

Hailing from the Lombardy region of Italy, Hellish God is a four-piece death metal outfit. The Evil Emanations is their debut album which follows the satanic death metal blueprint faithfully from start to finish. It’s a short album, 30 minutes in total but the band don’t hold back with an ultra-aggressive approach which sears the skin and rips flesh. I’m not a big fan of some of the impish screaming vocals which surface during tracks but when vocalist Tya can do his own thing it improves with some Corpsegrinder like growls. It’s full throttle, with blast beats and 100mph drumming throughout, some fine shredding from founder Michele De Ioia and thunderous bass lines. Tracks such as Burning The Infidel, Agitator Shall Be Triumphant! and album closer Marching With The Accuser tick all the death metal boxes. A solid release. 7/10

Reviews: Mollie Marriott, Dorje, Ignu, The Weight (2017)

Mollie Marriott: The Truth Is A Wolf (Amadeus Music)

Mollie Marriott certainly has a surname that most of our readers will recognise, the daughter of  Small Faces/Humble Pie singer and guitarist Steve Marriott and Step-Daughter of Joe Brown, she has been performing since she was 15 with Oasis, Paul Weller, Joe Brown, Dennis Locorriere (Dr Hook), Mark Knopfler and Chas and Dave, she has always moved between rock and soul and her debut album continues with this stradling of the genres. Control the track that opens her debut The Truth Is The Wolf is a soulful number with a stomp-clap rhythm section, a bubbling Fender Rhodes, scintillating guitar playing and Mollie's raw but beautiful voice, you can hear she's a daughter of the blues and this smoky sound comes through on Broken which brings the blues into the 21st Century.

Again and it's followed by the smoldering title track which rocks up at it's end before the soul returns for Give Me A Reason. Marriott's vocals are majestic throughout at times fragile but at others with all the passion of the old blues howlers. She cites her influences as Stevie Nicks and Sheryl Crow and vocally she's got both of their gritty, robust vocal styles down, bringing an honesty to the music with deeply personal songs like Love Your Bones, Broken, My Heaven Can Wait. Helpfully she's also managed to get a host of brilliant musicians and writers to co-write and play on this record, Sam Tanner, lead vocalist with Brother Strut, is especially vital to the record.

The Truth Is A Wolf is a brilliant record, some times more R&B than rock and roll but the album is a musical melting pot with grunge, soul, R&B and even some alternative touches, it's a stunning record, I'm gutted I didn't pick this up earlier. 9/10     

Dorje: Centered And One (Invisible Hands Music)

Rob Chapman and his melo-technical rock crew return with their second EP Centered And One and similarly to their previous release it's a mix of styles that you'd expect from Dorje with tracks such as To Survive having the melodic complexity of Alter Bridge, Chapman giving his most impassioned vocal as Rabea Massaad let's rip a solo as good as any of Tremonti's. At 5 tracks it leaves you wanting more even though the songs are technical, with heavy hitters like the title track and slower burning orchestral Zero this EP is another feather in their collective caps with a thick grungy grooves
of Dave Hollingworth (bass) and Ben Minal (drums) pumping the likes of Flower Of Life. Dorje occupy that early 2000's sound of technically gifted musicianship playing angst ridden, heavy riffing rock. I'd say the only issue I have with this EP is that the production is a little quiet but other than that it's a great EP that will add more winners to Dorje's incendiary live set. 7/10

Ignu: Lightningflash Flintspark (Self Released)

Ignu are an odd one, the band's name is inspired by work of American writers from the 1950's Beat Generation especially Alan Ginsberg. It's their shared love for mysticism, Orient, Buddhism and artistic independence. The group consists of four friends; Cyryl Skiba (drums/percussion), David Condis y Troyano (bass), Jan Szege (guitar) and Lubosz Majewski (vocals). The Polish band's debut album Lightningflash Flintspark was recorded at Mandragora Studio and it's a fuzzed up trippy slab of alternative rock, the lyrics move between English and Polish but the grooves stay the same.

It's a jazz inflected sound, that twists and turns with progressive intent as Snow freaks out with psychedelic hard rocking that turns into slinky jazz track, then Best 'N' Blessed mixes 60's percussive rock n roll with modern heavy rock. The musicianship is excellent and the songs full of virtuosity but the record maybe a little too freaky for some, however if you open up your third eye and just loosen up daddio Ignu will keep you entertained for the eternity of their 7 track album. 7/10

The Weight: S/T (Self Released)

In 2015, the Austrian rock band The Weight released their debut-EP Keep Turning, 2 years later their debut album is packed to bursting with 70's inspired grooving hard rock, check out a track such as the smoldering, progressive Hammer, Cross & Nail and you'll see that The Weight have this style locked down to a driving bass/drum beat, some swanky, funky guitar lines and swirling hammond organs, they've got a hard rock heart with a psychedelic mind.

Songs such as the strutting Get Some, first single Trouble, the slide driven Rich Man's Pride all have a classic rock sound to them but with a modern bents similar to Wolfmother or Rival Sons. This Austrian band have pulled into Nazareth (The Band - Music History Ed) on a wave of proper rocking, frenzied drumming leads Money Ain't For Keeping but they slow for a torch song on A Good Thing. At so many points on this record The Weight reminded me of Grand Funk Railroad, which for me is a positive comparison as I bloody love Grand Funk, The Weight takes you on a trip with a modern retroism, music how it used to be and all the better for it. 8/10

Top 10's Of 2017

Matt's Top 20 In Order

1. Steven Wilson - To The Bone
2. Von Hertzen Brothers - War Is Over
3. Sivert Hoyem - Live At Acopolis
4. Sons Of Apollo - Psychotic Symphony
5. Devilfire - Dark Manoeuvres
6. Aaron Buchanan & The Cult Classics - The Man With The Stars On His Knees
7. Grave Pleasures - Mother Blood
8. Blackwater Conspiracy - Shootin' The Breeze
9. Krysthla - Peace In Our Time
10. Black Country Communion - IV

11. Beast In Black - Bezerker
12. Roger Waters - Is This The Life We Really Want?
13. Need - Hegaiamas: A Song For Freedom
14. Memoriam - For The Fallen
15. Hallatar - No Stars Upon The Bridge
16. Anathema - The Optimist
17. Samarkind - Samarkind
18. King Creature - Vol 1
19. Subterranean Masquerade - Vagabond
20. Power Trip - Nightmare Logic

Paul's Top 20 In Order

1. Lionize – Nuclear Soul

2. Deep Purple - Infinite 

3. Overkill – The Grinding Wheel 

4. Anathema – The Optimist 

5. Enslaved – E 

6. Fen – Winter 

7. King Leviathan – Paean Heretica 

8. Lion Shepherd – Heat 

9. Lunatic Soul – Fractured 

10. Moonspell – 1755

11. Immolation – Atonement 

12. Hawkwind – Into The Woods 

13. Septic Flesh – Codex Omega 

14. Daniel Cavanagh – Monochrome 

15. Memoriam – For The Fallen 

16. Wolcesnmen – Songs From The Syrgen 

17. Marilyn Manson – Heaven Upside Down 

18. Avatarium – Hurricanes and Halos 

19. Dimmu Borgir – Forces Of The Northern Lights 

20. Solstafir - Berdreyminn

Rich's Top 20 In Order

1. Septicflesh – Codex Omega
2. Battle Beast – Bringer Of Pain
3. Kreator – Gods Of Violence
4. Anathema – The Optimist
5. Dyscarnate – With All Their Might
6. Power Trip – Nightmare Logic
7. Body Count – Bloodlust
8. Ulver – The Assassination Of Julius Caesar
9. Necrowretch – Satanic Slavery
10. Beheaded – Beast Incarnate

11. Soen – Lykaia

12. Steven Wilson – To The Bone

13. Memoriam – For The Fallen

14. Myrkur – Mareridt

15. Vallenfyre – Fear Those Who Fear Him

16. Brother Firetribe – Sunbound

17. The King Is Blind – We Are The Parasite, We Are The Cancer

18. Dying Fetus – Wrong One To Fuck With

19. Iron Reagan – Crossover Ministry

20. Hallatar – No Stars Upon The Bridge

Mrs H's (MoM's Chief Gardener and Pastry Provider) Top 10 In Order

1. Idlewar – Rite
2. Anathema – The Optimist
3. Stone Sour - Hydrograd
4. Marilyn Manson – Heaven Upside Down
5. Trucker Diablo – Fighting For Everything
6. Gun – Favourite Pleasures
7. The Darkness – Pinewood Smile
8. Lionize – Nuclear Soul
9. Daniel Cavanagh – Monochrome
10. King Creature – Volume One

Anthony Hutchings' (MoMs Resident Cool Kid) Top 10 In Order
1. Code Orange - Forever
2. Malevolence - Self Supremacy
3. Satyricon - Deep Calleth Upon Deep
4. Marilyn Manson - Heaven Upside Down
5. Mastodon - Emperor Of Sand
6. Paradise Lost - Medusa
7. Trivium - Sin And The Sentance
8. Kendrick Lemar - Damn
9. Anathema - The Optimist
10. The Royal Blood - How Did We Get So Dark?

Charl Foo (Moon Club Noise Lover) Top 10 Not In Order

1. Full Of Hell & The Body Split - Ascending A Mountain Of Heavy Light
2. Wolves In The Throne Room - Thrice Woven
3. Amenra - Mass VI
4. Yellow Eyes - Immersion Trench Reverie
5. Impetuous Ritual - Blight Upon Martyred Sentience
6. Wolf Eye - Undertow
7. Godflesh - Posh Self
8. Pharmakon - Contact
9. Boris - Dear
10. Primitive Man - Caustic

Jamie Richards (Of Pity My Brain) Top 10 In Order

1. All Them Witches - Sleeping Through The War
2. Jim Jones And The Righteous Mind - Super Natural
3. Grave Pleasures - Motherblood
4. Aaron Buchanan - The Man With Stars On His Knees
5. Ryan Adams - Prisoner
6. Robert Plant - Carry Fire
7. Beastmaker - Inside The Skull
8. QOTSA - Villains
9. Uncle Acid And The Deadbeats - Vol I.
10. Public Service Broadcasting - Every Valley

Ash Cook's (Valis Ablaze Guitarist) Top 10 In Order

1. The Contortionist - Clairvoyant
2. Northlane - Mesmer
3. Veil of Maya - False Idol
4. CHON - Homey
5. Trivium - The Sin And The Sentence
6. August Burns Red - Phantom Anthem
7. The Midnight - Nocturnal
8. Drewsif Stalin - Anhedonia
9. Volumes - Different Animals
10. The Sun Explodes - We Are Of These Walls

Steve Jenkins' (Democratus Vocalist) Top 10 In No Particular Order

1. Alestorm - No Grave But The Sea
2. SepticFlesh - Codex Omega
3. Suffocation - Of The Dark Light
4. Trivium - The Sin and the Sentence
5. Stone Sour - Hydrograd
6. King Leviathan - Paean Heretics
7. The Haunted - Strength In Numbers
8. PowerQuest - Sixth Dimension
9. Foo Fighters - Concrete and Gold
10. Queens Of The Stone Age - Villains

Michael Duffy's (Fuel Rock Club DJ) Top 10 In Order

1. Kreator- Gods Of Violence
2. Zeal & Ardor - Devil Is Fine
3. Battle Beast - Bringer Of Pain
4. Steven Wilson - To The Bone
5. Creeper - Eternity In Your Arms
6. Arch Enemy - Will To Power
7. Ayreon - The Source
8. Myrkur - Mareridt
9. Black Dahlia Murder - Nightbringers
10. ‎Dropkick Murphy's 11 Short Stories of Pain & Glory

Elliot Cadmore's (AKA Sounds Of Insane Music) Top 10 In No Particular Order

1. Bullet Height - No Atonement
2. Courtesans - Better Safe Than Sober
3. Body Count - Bloodlust
4. Arch Enemy - Will To Power
5. Infected Rain - 86
6. Orden Ogan - Gunmen
7. Me And That Man - Songs Of Love And Death
8. Havoc - Conformicide
9. Cellar Darling - This Is the Sound
10. Motionless In White - Graveyard Shift

Reviews: Amethyst, Last Autumn's Dream, Fear The Fallen, Red Stone Souls (2017)

Amethyst: From The Fire (Self Released)

Amethyst are a thrash/groove band from Manchester, this year has seen the North west become a real driving force in heavy music with many of the bands we reviewed this year coming from that region. Amethyst have been doing the rounds bludgeoning crowds since 2014 and their debut album From The Fire (which features great artwork from the venerable Very Metal Art) is a blast of groove-laden heavy metal that takes its cues from Lamb Of God and Reading's technical metalcore crew Sylosis. From the opening punch of Act Of Betrayal you get the heaviness directly rammed into your face like an unwanted post Xmas chocolate bar.

Retribution brings a dose of melody with both the harmonious lead playing and the final outro floats away with some quality noodling. With a rhythm section of Dan Quinley (bass) and Aaron Youd (drums) who do their best to kick your ass royally on every song, from the classic thrash of One More Day, the more modern Nevermore, the blisteringly pacy title track and the old school stomp of the technical Vile & Corrupted, the tracks are driven by thunderous blast beats and the dual guitars of Simon Watts and James Schofield, with Schofield not only the lead guitar mastery but also the voice of the demon. As a debut full length From The Fire is an incendiary statement of intent that makes you want to listen to it and headbang again, a word of warning though if your neck already aches, the second listen will totally bugger it! 8/10

Last Autumn's Dream: Fourteen (Avalon)

Can you guess how many albums Last Autumn's Dream are on? The imaginatively titled Fourteen is the latest installment from the hard rock/AOR band formed by Swedish vocalist and keyboardist Mikael Erlandsson and guitarist Andy Malecek from German hard rockers Fair Warning.  Go! and Turn It Up are the songs you'd want to hear from this band, slick, slightly glammy rockers, interspersed with louche lazy anthems like Siren and some Van Hagar-like on I Don't Wanna Wait.

The record is chock full of melodic AOR tracks such as Wouldn't U Like, Shadow Of The Night and the poppy Walkin' Talkin' Miracle. This polished record features some excellent performances from all concerned and with 13 albums preceding it there was no chance there would be a substantial shift in sound but if you like glossy hard rock then you'll want to get in this dream. 7/10

Fear The Fallen: The Order (Sound House Records)

When I saw that Christian Slater was fronting Fear The Fallen, I did wonder why the star of True Romance, Broken Arrow and Hard Rain was slumming it with a heavy metal band from Darwen Lancashire but when I did a bit more research I found out that it wasn't him at all, yes I was disappointed but I don't think Hollywood Christian could have pulled off the kind of vocals this Christian exhibits, somewhere between Chester Bennington and Layne Staley, it's his emotional wide ranging vocals that give this band their fervent power.

The rest of the band are no slouches either though guitarists Sam Crowther and Dan McNally, drummer Matthew Dearden and bassist Rob Upton all play with virtuosity with some metalcore riffage meeting with the punching hard rock of Powder, Plot & Treason. It's a modern metal record with the constant reminders of the totalitarian control themes the record is built upon. It's a little safe at times but for a debut there is a lot of promise shown. 6/10

Red Stone Souls: Mother Sky (Self Released)

Four bearded dudes? Blissed out vibes? Fuzz-drenched Sabbath worship? It looks like we've got a stoner rock record on our hands, Detroit band Red Stone Sky channel the urban decay of their home state with fat 70's riffage. It's a record that needs to be played through a valve amplifier in a black light filled room and the highest grade green money can buy, your head begins banging from the outset swathes of riffs come come at you on the first track alone.

However as the record goes on there are more an more from rocking biker anthems to dreamy psych freakouts, Red Stone Souls bring to mind Monster Magnet due to the vocals and their obvious love of mind expanding narcotics, but also The Sword due to the sheer riffiness (which I've decided now is a word). Void Walker crawls like a pot-head coming up for snacks, Truckers has a bluesy swagger to it that builds into a cracking instrumental freakout at the climax and it leads into the massive doom overture of Before The Devil Knows You're Dead. Spark one up, turn up the speakers and let your hair down for this slab of stoner metal from Red Stone Souls, far out man! 8/10   

Reviews: Ghost, Apophys, Bestialord, Deathcult (Reviews By Paul and Rich)

Ghost: Ceremony & Devotion - Live In The USA 2017 (Lorma Vista)  [Review By Paul]

Love them or hate them, there is no denying that Ghost have made a massive impact over their time on the rock scene. Headline tours across Europe and the USA, controversy around the identity of the band and the legal challenges against Papa Emeritus, Tobias Forge, by former band members as well as the lukewarm response on social media to the decision to award them the Saturday night headline slot at Bloodstock; it’s been interesting and entertaining all the way. Ceremony & Devotion captures the band live in San Francisco on their 2017 US tour and mighty fine it is too. There is clearly some polishing on the recording, but this is a fine double live release which provides an accurate audio experience of the band in the live arena.

Cutting out some of the in between song pauses which often slow the pace of their live show, Ceremony & Devotion is a lean beast, clocking in at 72 minutes for their complete set. Kicking off with Square Hammer, the band move swiftly through an opening salvo of tracks before slowing the pace a little with Body And Blood, one of the weaker songs in their repertoire. An enthusiastic crowd enhances the show throughout although it’s only when things get a little chunkier with Year Zero that the pace increases. Papa’s humorous chatter is always entertaining, and it is captured with skill on this release. Mummy Dust allows the band to rock out with their heaviest song whilst the double whammy of Ritual and Monstrance Clock conclude a solid live recording in style. If you like Ghost, this will be a must have release. If you don’t, you’ll hate it. 8/10

Apophys: Devoratis (Ultimate Massacre Productions) [Review By Rich]

Devoratis is the second album by Dutch death metallers Apophys who feature members of God Dethroned and Erebus. This is an album which will definitely be getting things off to a good start in 2018. It’s an absolute cracker. Apophys have perfected a sound on Devoratis which is equally brutal, technical, atmospheric and melodic. It retains the brutal and evil roots of the genre but is not afraid to mix in elements from other genres.

The playing is very proficient and technical throughout the album but the songs are all structured extremely well so it is technical for the sake of it. Particular highlights for me were Xiux – The Parasite and Retaliate. Lyrically the album is science fiction themed with a concept running throughout. The album boasts a massive production which positively burst out of my sound system with crippling intensity. Overall Apophys have absolutely nailed it with Devoratis which is a prime example of how good death metal can still be in the 21st century and that the genre is far from stale. 8/10

Bestialord: Lord Of The Burning (Symbol Of Domination And Cimmerian Shade Recordings)[Review By Rich]

Lord Of The Burning is the debut album of Kansas based doom metal band Bestialord. Bestialord were formed by members of Sanctus Infernum and play self styled occult horror metal. Bestialord offer up a very old school sound with 80’s doom metal being the prevalent influence though there is a big influence from old school death metal and black metal. The pace of the songs alters throughout the album giving a bit of variation and helping to retain interest. You get slow burning doom such as What Is The End to faster paced ones such as the title track.

The performances are great throughout the album. The harsh vocals by frontman Mark Anderson really add to the evil and malevolent feel of the album. The performances are complimented by a fine production job which is clear but not too clean sounding. Bestialord have a great debut album to put out in January which is a pure love letter to 1980’s extreme metal. Lord Of The Burning oozes pure nostalgia and by the end of it you will have an overwhelming urge to grab your Celtic Frost and Candlemass records and give them a spin. 8/10

Deathcult: Cult Of The Goat (Soulseller Records) [Review By Rich]

Ten years after their debut album, Deathcult return with a second album of black metal filthiness. With a line up that includes members and ex-members of Taake and Gorgoroth, Deathcult definitely know their black metal and deliver it in spades on this record. At its core Cult Of The Goat is very much a classic sounding Norwegian black metal album but it also has a few twists and turns and a couple of tricks up its sleeve which may take you by surprise but doesn’t detract from its primal black metal core.

 There’s a definite punkiness running through the album but there’s moments such as the rock breakdown in The Oath, the middle eastern instrumentation throughout Devilgoat and the xylophone led atmosphere of closing instrumental Laudate Hircum. Cult Of The Goat is a bold album mixing gnarly Norwegian black metal with some different styles and ideas. Whilst one or two tracks could do with trimming on the whole it works and is a very enjoyable album. 7/10

Re-Issue Review: A Farewell To Kings 40th Anniversary Edition (Review By Paul)

Rush: A Farewell To Kings 40th Anniversary Edition (UMC)

1976 had seen Rush deliver their opus 2112. Much has been written about how this release saved their career and gave them the freedom with which they were able to create their music for the next 38 years. It is widely acknowledged that after Caress Of Steel, Anthem Records were certainly putting pressure on Rush. Well, after 2112, the pressure certainly abated and in 1977 the band settled into the Monmouthshire countryside at Rockfield Studios to record album number 5. Released on 1 September 1977, A Farewell To Kings is a mere 37 minutes long, short by today’s standards where digital recording allows mediocre artists to churn out 60+ minutes with ease.

37 minutes it may be, but what a glorious 37 minutes you got. The title track opens the album, a retrospective look at history, Alex Lifeson’s gentle acoustic guitar, light timpani and the delicate ebb and flow of Geddy Lee’s keys ease in before a crashing riff kicks the song off. Lee’s vocals, that instantly recognisable high-pitched soar, bring to life the astute lyrics of drummer Neil Peart. His lyrics evolving slowly away from the fantasy and Sci-Fi influences and towards social commentary. A Farewell To Kings contains in my view some of Alex Lifeson’s finest guitar work, with rip roaring solos cascading through the title track.

You then you arrive at one of Rush’s finest works - Xanadu. The opening birdsong of the Welsh countryside, the stunning five-minute instrumental introduction which leads to Peart’s narrative based on Coleridge’s poem Kubla Khan. What Xanadu also introduced to Rush was the transformation to full use of synthesisers, a step forward from the synth effects of 2112. This meant that when performed live, Rush’s evolution into technology accelerated with their use of multiple effect pedals amongst many other options. It also saw Lee and Lifeson use the now legendary double neck guitars, a real spectacle. For me, Xanadu remains one of their most impressive and evocative songs.

How to follow that 11-minute opus? Well, try Closer To The Heart, an anthem that would be synonymous with the band for the rest of their career. Co-written by Peter Talbot, a close friend of Peart, it charted at number 36 in the UK charts and remained in their set list for most of their tours despite being dropped on the Vapour Trails tour as the band were “sick of it”. Listen to the rabid Brazilian crowd sing it on Rush In Rio and you’ll understand why the band had to bring it back! Two songs which fit comfortably on the album follow, Cinderella Man and the folky Madrigal. Both are lyrically clever, and the playing is superb. They lead neatly into the sci-fi themes of closing Cygnus X-1 (Book One – The Voyage), the story of the flight of the Rocinante spacecraft as it is drawn to the black hole Cygnus X-1; it’s explorer pilot believing that there is something worth exploring through it.

The track opens with the spoken narrative by producer Terry Brown, before Lee’s heavily syncopated bass riffs allow the band to drown out the opening effects, the synths again prominent as the swirling time signatures change. From there on, it’s a rip-roaring ride as we journey with our ‘hero’ as the Rocinante is sucked into Cygnus X-1, Lee hitting his highest ever pitch on a studio album as “every nerve is torn apart”. Cygnus X-1 of course leads to part two, the eighteen-minute story which opens 1978’s Hemispheres, as we learn about the story of Apollo and Dionysus.

Disc two in the special edition is where things get just a little exciting. A full concert, recorded at Hammersmith Odeon on February 20th, 1978, as Rush toured in support of Kings. At their peak, Rush could kick out the jams with the best of them and this recording demonstrates this. Kicking off with the riff heavy Bastille Day, both the band and crowd sound on top form. For a three-piece, I would argue that Rush in the 1970s were as heavy as any of their peers. You can, however, hear the way in which their sound was developing, the embryonic shoots of their move towards a more synth heavy sound that would be fully in play by 1981’s Moving Pictures already audible.

The joy of listening to Rush live in the 1970s is that you get the opportunity to hear tracks that have long been dropped from the set list. Unsurprising given their vast catalogue, but what a delight to hear Lakeside Park, By-Tor And The Snow Dog and Kings itself. Although many of this setlist remained staples throughout their career, the gusto and rawness which gripped both the band and the audience as they blasted out Something For Nothing and 2112 in all its glory is fantastic.

The Hammersmith recording also allows a small window into the professionalism surging through a band who four years earlier had only released one record. To think that within that four-year period, Rush would move forward to set lists that contained Xanadu, 2112 and Cygnus X-1 is astonishing. The intricacies of these tracks, which are delivered perfectly remain quite breath-taking. The encores stand the test of time as well. Working Man, Fly By Night and In The Mood all rockers which still grab you by the balls in 2017. The seeds of Neil Peart’s long term drum solo production which ultimately resulted in three solos in latter sets can be found in the solo which precedes the final track, a rarely heard Cinderella Man.

The third disc follows a that of the remasters 2112 release with covers of tracks on Kings from other bands with an affinity to Rush. Given their history of touring with Rush, it’s unsurprising that Rush selected John Petrucci and co to give Xanadu a go. Musically, it’s close to the original, as you’d probably expect. However, James LaBrie is no match for Geddy Lee and struggles throughout. It becomes a bit painful by the end of verse one, and by ten minutes you wish it was an instrumental.

Why Big Wreck were selected to cover Closer To The Heart is beyond my comprehension. Ian Thornley's only decent vocal is the final note and whilst the heavier version kicks the track along, it is not that enjoyable. Similarly, Countrymen The Trews attempt at Cinderella Man doesn’t really hit the spot, although it’s a decent enough stab. Alain Johannes version of Madrigal is turgid, the multi-instrumentalist not really suited vocally to the track. So far so poor, but the unreleased outtake of instrumental effects Cygnus X-2 Eh? does at least provide something new to hear.

So overall, one superb album, a must-have live release and some rather uninspiring covers. It’s worth it for the Hammersmith show on its own. 9/10

Book Review: What Does This Button Do? By Bruce Dickinson (Review By Paul)

Bruce Dickinson: What Does This Button Do? Harper Collins

Sitting in the sun sipping a beer on Faro Marina four days before Christmas, I finished What Does This Button Do? A thoroughly entertaining read, which describes the career and some of the life-defining moments of the Iron Maiden frontman. Is it worth reading? Well, in my view yes. Here’s a few thoughts about why.

Much of Dickinson’s life story is already out there. Just read his Wikipedia page and you get a pretty decent summary. What his autobiography adds is a bit more meat on the bones. 367 pages, all originally hand written on A4 and edited to provide an honest chronology of his life, starting with his Worksop background, his initial upbringing by his grandparents and his nomadic parents who moved around the country with their various employment opportunities. Dickinson writes fluidly, with a gritty clarity which you believe is all his own work; far away from those awful ghost-written books that most stars employ. There is little in here about drink or drugs, few accounts of waking up in someone else’s bedroom with no recollection about how they got there. Instead you are shown an insight into the harrowing time at boarding school, with the endemic bullying and humiliation and Dickinson’s stuttering steps into the world of live music. His departure from school is delightfully captured, and the reader breathes a sigh of relief as he escapes, only to put sufficient effort into his subsequent studies to gain three A Level ‘E’ grades, sufficient to obtain entry for his history degree at Queen Mary College, University of London.

It’s from here on in that we get a window on the early Dickinson drive and determination, his formative years with the band Speed, his move to Samson, complete with Thunderstick and the now legendary approach of Maiden Manager Rod Smallwood at the Reading Festival which resulted in the transformation of Iron Maiden into one of the planet’s biggest bands. I imagine there’s quite a bit left out here, with little mention of Paul Di’anno; in fact, I’m not sure he’s even mentioned. Similarly, there is limited detail about his departure from Maiden in 1992, and nothing about his replacement Blaze Bayley except for a complimentary comment and the acknowledgement that Bayley had an impossible job following Dickinson in the 1990s. The return to Maiden is also sparse in detail, which may disappoint those looking for a bit of dirt. There is, however, some fascinating tales from his solo career which are incredibly entertaining.

Of particular interest to me was the detailed accounts of Dickinson’s conversion to flying, the rigmarole that accompanied his initial qualification as a pilot and the subsequent commercial pilot licences. Whilst it is very interesting, in typical fashion he recounts it as rather routine, despite the fact it was clearly a challenging and complex process. The descriptions of the organisation of Ed Force One for the Maiden tours is similarly perfect, despite the obvious logistics that it entailed. Whilst the humour and challenges are neatly described, at times it all seems a little bit too easy. Maybe that is the Dickinson drive and determination; take things by the horns and come up with solutions, not problems.

His matter-of-fact account of taking the diagnosis of head and neck cancer on head first is both inspiring and slightly glossed over. The unpleasant side effects are recounted with discomfort, but with the understandable decision to leave family and friends out of the book from the start, the human side of the impact is, perhaps reasonably, diluted. I’d have been interested to read more about the support he received from the metal community. His praise of his medical team is emotional although not everyone gets a referral to Harley Street; the perks of the Maiden insurance policy no doubt.

Overall, What Does This Button Do? is a cracking read. Not exactly a history of his time in Maiden; in fact, much of his latter year work with the band is reduced to small segments and his views on current music are noticeable by their absence. It really is a history of the man and his life, with Maiden just happening to play a part and facilitate a financial contribution which enabled him to source other roles in life. I’d recommend it but with the caveat that it may not reveal as much as you might think. 8/10

Reviews: Even Flow, Reverence, Deadwood Lake, Crom

Even Flow: Life Has Just Begun (Mjriam Inc)

Italy has a bit of a history with progressive rock and metal, one of their most popular acts are Labyrinth who’s singer Rob Tiranti took Even Flow as a support for his Wonder World tour. Musically though Even Flow have less in common musically with Labyrinth, they have no galloping power metal tendencies at all, no their music is more like that of fellow countrymen DGM or even Norwegians Circus Maximus, although Come To Life does sound like Pagan's Mind track. Their music is progressive, but with huge chorus hooks and AOR sounding synths, they add to this great vocal harmonies and a willingness to experiment with the formula sometimes getting heavier than you’d expect but also knowing when to ease off the gas and slow things down.

The band are four piece formed by brothers Pietro Paolo (guitar) and Giorgio Lunesu (drums) and have been releasing records since 2008, Life Has Just Begun is their fourth record and it’s probably the one that will break them, there was band on Frontiers called Seven Tears and Even Flow remind me a lot of them, with Dream Theater style instrumental sections on Azure Haze and bombastic riffs on Alternative State Of Mind, they also have the ability to stir those memories of heady days of 80’s radio rock on tracks such as Believe and Oblivion.

There is a lot of emotion in the vocals of Marco Pastorino who is counteracted by Pietro to give the band great double vocal harmony with Gavino Salaris basswork very audible and at times vital to drive the record letting Pietro play some extravagant solos and the keys do their work. I listened to this record a few times for this review and each time it got better and better, Even Flow are great progressive metal/rock band, they deserve all the kudos they get, for your own sake track down Life Has Just Begun as this is the ideal jumping off point for this Italian band. 8/10

Reverence: Foreverence (Razar Ice Records)

The new record from US power metal band Reverence's new EP is a tribute to their guitarist Pete Rossi, who passed away unexpectedly this past March. The EP is the follow-up to 2015’s Gods Of War and also features two bonus tracks from their up and coming live CD, due out next year. The music is conventional US power metal, solid heavy riffs, sturdy drumming and vocalist that can shout to the heavens. The title track instrumental opens the record, after this the first 'proper' track kicks in with flurry of guitars then eases into a mid-paced groovy metal track, the quicken up on Phoenix Rising, go a bit doom on New Order and channel their inner Van Halen on the guitar solo Final Flight before ending the studio tracks with Queensryche-esque ballad. A good 6 song metal album with two live bonus tracks for good measure, a good EP that reminds you that Reverence are still a going concern. 7/10

Deadwood Lake: Forest Of Whispers (Self Released)

Deadwood Lake is an atmospheric black metal project created by Bruce Powell, in memory of his late brother Gary who died in a car accident. All of their music is written about Gary and is in memory to him. Paul reviewed the band’s debut EP Remembrance bestowing it a mighty 9/10 so can their debut full length live up the lofty expectations? As I pressed play on the decks of doom the eerie wind and distant bell tolling started the record in a traditional black metal style, however then some acoustic guitars cut in to start Departure properly, then with scream the main riff kicks in, Tom Warren destroying his kit with furious blastbeats and little jazz inflections keeping the attention as Powell thumps his bass to bring the heavy riffs, taking control as the lead instrument throughout.

Flirting between melodic cleans and distorted rhythms Ryan Wills’ guitar playing is mightily impressive his classical Maiden runs are all over this record with the boiler room of Powell and Warren not only bringing the noise instrumentally but also vocally with a mix of black metal screams and guttural roars. With this being a D.I.Y style band you’d expect patchy production and mixing but you can hear a pin drop with the clarity of this record, it’s breathless, exhilarating black metal with a vision that is far beyond that of many bands with more experience would fail to capitalize on. The Golden Path starts with normal vocals and is one of the more melodic songs on the record with Warren showing how good his drumming is as it blooms into another black metal masterpiece.

In Forest Of Whispers you can hear the influences of British black metal leaders Winterfylleth but also the progression and failure to compromise of Emperor and Opeth (the title track reminds me so much of Akerfeldt). The record sits at 12 songs and they all are vital to the progression of the album, there is no filler, when you think the battery is getting too much they use Final Reflection to slow down with a melodic black metal ballad featuring breathy clean vocals and a huge key change finale. Deadwood Lake are at the precipice of becoming the next big thing in British black metal, they just need that one big show so they can reinforce just how good they are, sooner or later though this forest won’t be whispering anymore. 9/10

Crom: When Northmen Die (Pure Steel Records)

Make sure you have your axe sharpened and shield equipped when you press play on this third full length from Walter "Crom" Grosse. Epic Viking metal is the name of the game here odes to Odin and tributes to Thor make up all 13 of the tracks on this record with Crom taking up all the vocal, guitar and bass duties, delegating only the drums to Seraph. This German one man band does pretty much exactly what you want Viking metal to do, the songs let your sword be held aloft, more in the vein of classic metal than the death and black metal influenced Viking fodder it’s a very notable feat that one (two) man has made everything you hear.

Tracks such as Shields Of Gold has Crom duetting with the nastier vocals of Paymon but it sticks to the Viking sound clobbering you with big riffs at every turn. There is only so much one man can do on a record with one genre so yes there is some crossover to the songs and at 13 tracks it becomes more evident how much of this album is audibly similar but if you are the sort to drink all of your beverages from a drinking horn and wear a horned helmet constantly (as I’d like to think Walter Grosse is) you won’t care as Crom will fill the gap as you wait for the new record from Amon Amarth or Grand Magus. 7/10