Reviews: Turbowolf, Rivers Of Nihl, Palace Of The King, Old Man Wizard

Turbowolf: The Free Life (So Recordings)

The Free Life the third full length from Bristol musical alchemists Turbowolf has the heady mix of genres sometimes one or two in the same song, the steel drum smashing No No No takes flight with synths about halfway through then again at the end letting the expressive vocals Chris Georgiadis do the work before they add a bit of snotty punk with Capital X which has Lianna Lee Davies fuzzy bass and Andy Ghosh's distorted guitars melting your mind as the percussive precision of Blake Davis is key to the noise on this track and also the reverbed to all hell disco-rock of Cheap Magic.

Turbowolf don't really don't do long songs but their 3-4 four minute blasts of intergalactic space punk rock is enough to get you going nuts in the isles, when they do elongate a song such as the title track they really bring a progressive touch to it, throwing the kitchen sink at it. The Free Life features some great guest vocalists as well, the funky synth driven Very Bad has Vodun's Chantal Brown adding her soul voice all over it, the previously mentioned Capital X features Idles Joe Talbot while Cheap Magic has Sebastian Grainger of Death From Above and stomping stoner rocker Domino has Michael Kerr of The Royal Blood in fine form.

As with all Turbowolf records it's the variation of styles that makes them stand out above the rest of the British rock pack, they aren't afraid to take risks with their music from the alt acoustics of Half Secret to the fuzz rock and phase shifting of The Last Three Clues and all that's in between. Always unique and always brilliant The Free Life is another top notch record from Turbowolf. 8/10

Rivers Of Nihil: Where Owls Know Our Name (Metal Blade Records)

Not sure why the owls know their name and in one particular place but Rivers Of Nihil return with their third album, this one thematically deals with the Fall (Autumn for us Brits) with the previous albums being Summer and Spring respectively. As is only right with the changing of a season they have again reinvented themselves adding to their brutal death metal assault with electronica, jazz, alternative and folk making this record their most accomplished yet. Now rounded out with by guitarist Jon Topore and drummer Jared Klein the record starts as it means to go on as The Silent Life not only has the bludgeoning visceral death metal of before but is bolstered by an electronic undercurrent, clean guitar middle eight and lots and lots of schizophrenic sax playing.

It's the beginning of yet another journey following the protagonist of their last two albums continuing the story but also adding an awful lot more emotional material that sees the collective band members dealing with, as Adam Biggs (bass/vocals) puts it, "loss, getting older, and reaching a point where death becomes a much more present part of your life." The sax comes up again on the Subtle Change (Forest Of Transition) which has an epic jazz break in it's middle as the sax parps are anchored by the battering double kicks while Terrestria: III is a electronic driven industrial break that leads into the the second part of the album which continues in the vein of the of the first half filled with complex progressive music right but as the finale of Capricorn/Agoratopia rears its head the record has opened itself as one of the most interesting death metal records of the year so far. 8/10

Palace Of The King: Get Right With Your Maker (Golden Robot Records)

I've reviewed both of Aussie rockers Palace Of The King's previous albums and their third album maintains the theme of records full of swaggering, psychedelic, revivalist hard rock that moves between Led Zeppelin, Deep Purple and of course AC/DC with massive bluesy riffs, soulful vocals and big organs that bubble away on opener and first single I Am The Storm which brings in a bit of The Doors with the blues rocking. There's touches of The Black Crowes as they shake their money makers on the percussive A Dog With A Bone, they go a bit solo wild on Said The Spider To The Bird and take a Floydian flight of fancy on Back On My Feet Again (which has a very Zep III secret song at the end).

It's this collaboration of styles and the straight ahead rockers like The Serpent that are all evidence that this record has been honed over the course of more than 100 live shows a year. Recorded in stages it's almost as if the songs on this record have been written specifically for playing live, they've got guts and balls bringing the best parts of classic rock music and the post Millennial revival for a wholly authentic hard rock experience. As I've said I've reviewed all of Palace Of The King's albums and they are consistently solid hard rock records and because of that I hope they start getting the recognition they deserve. 8/10

Old Man Wizard: Blame It All On Sorcery (Self Released)

While Ghost go through their current stage of reinvention as yet another Papa takes over as the front person, fans must be waiting with baited breath for their new album. Luckily for them then there is Old Man Wizard to satisfy their list for occult 70's rock, this Californian trio have the same influence base as the Swedes fed on a diet of Blue Oyster Cult, Queen (Last Ride Of The Ancients), Rainbow, Jethro Tull and even The Moody Blues (Somehow). They are uncannily similar to both Ghost (The Blind Prince, Cosmo) and Opeth on both folk driven Never Leaves and ultra heavy Innocent Hands.

The three piece have got the occult retroism down Francis Roberts vocals are much like Tobias Forge's and occult lyrical content and the riff driven rocking gets you headbanging in your chair as Roberts supplies the dancing guitars while Andre Beller and Kris Calabio lock in as the rhythm section. It's nothing that different from the Swedes and if you don't like Ghost then you'll not think much of Old Man Wizard but if you feel that your life is missing more folky, spectral, retro rocking then you'll have to listen to Old Man Wizard until the church is back in session, Blame It All On Sorcery as this is bewitching rock music at its best. 8/10

A View From The Back Of The Room: Blood Stained Earth Tour (Live Review By Paul)

Blood Stained Earth Tour 2018, Fiddlers Bristol

This event was originally planned for the Bristol Bierkeller but was hastily rescheduled to Fiddlers on the other side of the river due to the horrendous decision to redevelop the Bierkeller site and remove with it one of the most well regarded and used music venues in Bristol. Fiddlers isn’t a patch on the Bierkeller. Water dripping through the ceiling, several beers not available and a sound system that took forever to settle but well done to all involved for actually managing to secure a venue to ensure this event actually took place.

Earlier in the day the event Facebook page had received some criticism when the set times were published, due to the late start and the short sets. However, arriving way after the advertised kick off due to the horrendous Bristol traffic, it was something of a surprise to see fans queuing to enter the venue and an even greater surprise to hear nothing blasting out of the amps. In fact, the main room where the bands played wasn’t even open. Around 8:30 pm the doors finally opened, and a reasonable crowd spilled into the room to watch one of the most farcical sights seen for a long time. Opening act Survive (0) are a death thrash outfit from Japan.

As the band tuned up and checked the sound on stage, it was clear that drummer Shintarou was missing. In his place, another drummer, who definitely wasn’t Japanese, appeared to be struggling with the time keeping and the other three members of the band were in deep conversation with him. As time ticked by, the crowd began to get a little restless and eventually the lead singer Nemo screamed “Are you ready Bristol?” A false start was followed by another and within three minutes that was it, as the band picked up their equipment and walked off stage. A less than auspicious start and a bemused audience were left scratching their heads.

Canadian symphonic thrashers Aeternam (6) did at least get to play some music. More time to tune up suggested that there was more than one issue with the backlines. By now the event was way behind time but Aeternam played a solid, if curtailed set. Having been around since 2007, the band are an established and confident outfit, although it’s unclear if their ethnic symphonic metal was everyone’s cup of tea. Vocalist and guitarist Acraf Loudiy was urgently cajoling the audience from the start, but the crowd was in no mood to be bullied and it was only towards the end of the set that the reaction became more favourable. This was a shame as the band’s latest album, Ruins of Empires is excellent.

Whatever the problems with the sound, all the gremlins were soon eradicated when Brazilian thrash trio Nervosa (8) hit the stage. The all-female outfit went for it from the start, their visceral attack inciting the first of many pits during the evening. The diminutive Fernanda Lira snarled and roared her way through the mighty set, her vocal delivery a more intense Angela Gossow in style. Beside her the powerhouse drumming of Luana Dametto was astonishing whilst guitarist Prika Amaral shredded with freedom. The room was heating up nicely now and the pent-up frustrations of earlier in the evening faded with Nervosa’s high energy assault. This was powerful stuff and tracks from their latest album Agony, such as Intolerance Means War merged perfectly with older tracks such as the killer Into The Mosh Pit. A deserved ovation.

It wasn’t that long ago that New York Death Metal Legends Suffocation (9) almost caused the Bierkeller to collapse with a stellar show. Now with Ricky Myers leading from the front on vocals, the band knew they were on borrowed time so kept it straight to the point. A sharp, punchy and effortlessly brutal set sent the pit into raptures, with the floor so slippery that at times there were more fallers than at Beecher’s Brook. The dual guitars of Terrence Hobbs and Charles Errigo lacerated as tracks including Effigy Of The Forgotten, Clarity Through Deprivation and a storming Catatonia ripped through the venue. Once more, it was the battery of Eric Morotti’s drumming that caught the eye and the ear as he absolutely pounded the hell out of his kit. Myers interactions with the crowd consisted of a repeated urge to “kill each other” along with a genuine appreciation of the efforts of the now shirtless mass in front of him. Brutal stuff but totally addictive.

It was past the witching hour when Venom Inc (9) finally hit the stage to a disappointedly sparse crowd. However, those that had been able or chosen to remain were treated to a blistering hour of old school Venom classics interspersed with some rip-roaring tunes from the fine Ave release. Tony 'Demolition Man' Dolan was in fine form, roaring his vocals with gusto whilst pummelling his bass like it had done him wrong. Alongside Dolan, Mantas sliced and shredded with a malevolence of sinister chaos. With Abaddon on paternity leave, stand in drummer Jeramie Kling was tasked with bringing the noise and he did it with ease, his pounding style fitting effortlessly.

Metal We Bleed and set opener Ave Satanas were greeted like old friends but amidst the scorching set it was the old school rarities such as Live Like An Angel Die Like A Devil, Die Hard and the ferociously welcomed Lady Lust that raised the loudest roars. This is a band who are not content to rely on past glories but are respectful of the Venom heritage. Dolan is an imposing frontman, maniacal eyes scanning the crowd whilst all the while demonstrating the respect that the Venom Legions demand whilst Mantas plays with a confidence that was understandably absent in those halcyon days. The only disappointment came when the set ended, but to be fair, 1:15 am is probably sufficient for most. Venom Inc play at BOA this summer. Whether the intensity of this opening night can be captured in the field at Catton Hall is questionable but I’m willing to give it a try. Immense stuff.

Reviews: Turbonegro, Neverdawn, Wicked Wizzard, Shakma, On Thorns I Lay (Reviews By Paul)

Turbonegro: Rock N Roll Machine (Mercury Records)

Album number 10 from the Norwegian punk rockers and it’s a fine release. A melding of numerous influences, from Monster Magnet to The Who, this gets the foot tapping from the start. The aggro of Skinhead Rock n’ Roll, the anthemic Hot For Nietzsche and the comedic John Carpenter Power Ballad all fit superbly. The tinkling keyboards of Haakon-Marius Pettersen, who makes his Turbo debut on this release fit neatly whilst the quickfire speed of the tracks disguises the quality of the rest of the band. I’m by no-way a keen fan of this band but I really enjoyed this release, the first since 2012’s Sexual Harassment. Well worth a listen. 8/10

Neverdawn: Just Business (Self Released)

Basing their sound very much on the classic Megadeth/Metallica/Maiden style, Just Business is a decent enough slab of tunes albeit with little to get extra enthused about. For a debut album it certainly has promise, with the old school sound hitting a couple of decent pitches throughout the 47 minutes. The Country rock of Drifter contrasts with the Megadeth feel of opener Blinded. My main problem is the limitations of Tristan Woodruff’s vocals which work around 50% of the time but at other parts become more of a challenge to listen to. Compact, neat and confident, this is a promising debut which transports the listener to an older, more leather sweating time.  6/10

Wicked Wizzard: Self Titled (Self Released)

Coming at you from Mungia in the Basque Country, Wicked Wizzard are a stoner rock trio who punch hard and play loud. The challenge with all genres but especially with the stoner sound is to make it sound a bit different whilst still retaining that fuzzy, hard rock edge which defines who the band is. Wicked Wizzard’s debut release manages that to a certain extent and is a 40+ minute journey through swampy territory, interspersed with some storming guitar work from Unal Minguez. Sin City drives hard, Swamp takes a more measured, drifting approach whilst The Wizzard is a seven-minute meander that encapsulates all the best of the band. An enjoyable release which is worth pinning the lug holes back for. 7/10

Shakma: House Of Possession (Self Released)

No prizes for guessing that Shakma’s main influence is Slayer circa 1985. This really is old school thrash with a production quality that echoes those halcyon days when Kerry King had hair and Tom Araya didn’t need Just For Men. Hailing from Haugesund, Norway, Shakma nail their colours to the mast with 40 minutes of heads down dandruff shaking. It really is homage stuff, with nothing original but to be fair, Shakma do old school thrash as competently as any of the challengers around these days. Clipped passages, rampaging drumming and sinister evil vocal delivery are all here in the thrash by numbers release. If you want to transport yourself back to 1985 and Hell Awaits, then grab a copy of House Of Possession and take the trip. 6/10

On Thorns I Lay: Aegean Sorrow (Alone Records)

One of the joys of writing for the Musipedia is the exposure to bands you may otherwise never have heard of. This isn’t always a positive experience; for example, having to review anything by The Dead Daises invariably involves lots of alcohol and some element of self-harm to the eardrums as well as a feeling of violation for several days afterwards. However, discovering the Greek/Romanian death/doom/gothic outfit who have been in existence for over 20 years is a much better feeling as their 8th full length release is simply stunning.

The crushingly slow title track, at just under 9 minutes in length is an impressive statement, huge in style and sound with the menacing death growl of Stefanos Kintzoglou contrasting with the delicate piano ending on Aegean Sorrow and the string sections which gently permeate Erevos. With an intense, sombre atmosphere flooding their sound, this is an intense release which deserves a wider audience. From the skull crushing riffs on Olethros Part I to the gentle piano piece Skotos with its Opeth-like haunting subtleties which concludes the album, On Thorns I Lay may be the discovery of the year, albeit 20 years too late! 9/10

Reviews: Outshine, Twitching Tongues, Deathwhite, A Cunning Man (Reviews By Stief)

Outshine: 1313 (Gain)

Outshine founder and guitarist Jimmy Norberg hasn't had the best luck in the last few years; Theft from their tour bus while supporting Paradise Lost, legal threats from Swedish Tax authorities and ex-family problems would all make anyone quite angry, and that anger is prevalent throughout the new album from this Swedish quartet. A wonderful mix of hard rock, gothic music and melodic, the album is a melting pot of styles. She Will Love Me When I'm Dead begins with low tones reminiscent of Type-O Negative, showcasing the vocal talents of Tony Jelencovich; be it singing dirge-like songs like the aforementioned She Will Love Me or screaming at the top of his lungs in songs like Liar and They Know Who You Are, Mr Jelencovich has quite the range. The musical talents of the other members are very noticeable too; Band founder Jimmy Norberg's guitarwork is excellent, and the combined talents of Niklas Ingvarsson and Alexander Lungdren provide a great rhythm throughout. Pretty decent stuff! 7/10

Twitching Tongues: Gaining Purpose Through Passionate Hatred (Metal Blade Records)

A mixed bag from LA, which isn't bad in any way. A charged album throughout, the mixture of clean and harsh vocals works well, with the album building from a heavy but relatively slower atmosphere in AWOL (State Of The Union) to pure anger in songs like The Sound Of Pain. There doesn't seem to be a note out of place, Colin Young, supported by brother Taylor, both provide excellent vocal work, with both clean and growling vocals at play all the way through the album. There's plenty of opportunity to bang your head, with some awesome breakdowns in places, particularly in the aforementioned The Sound Of Pain. The band show a softer side in ballad Long Gone, where Colin Young's vocals really come into play. Newcomers F.Sean Martin, Alec Faber and Cayle Sain feel like they were always part of the band, Martin's guitars interweaving with Faber's bass and Cayle's drumming. A great bit of hardcore music, definitely worth a listen 7/10

Deathwhite: For a Black Tomorrow (Season Of Mist)

The first full-length album from this rather mysterious band from the States. With only two listed members; AM on drums, and LM providing both vocals and guitar. This album took a couple of listens, as the mix of clean, melodic vocals paired with the heavy drumming and riffing doesn't seem to sound right on the first listen. On the second, however, it seems to make a bit more sense, the melancholic vocals of LM weaving through the heavier music quite well. There are a couple of guest spots on the album, with Joe Bonaddio and Shane Mayer providing solos for Death And The Master and For A Black Tomorrow respectively. It's decent metal, with some great breakdowns, and a good chunk of emotion thrown into every song. 7/10

A Cunning Man: To Heal A Broken Body EP (Self Released)

I reviewed Ged Cartwright's first album Practical Application Of Theurgy just over a year ago, and this is a great return from the man from Scotland. It still retains that Coheed & Cambria feeling, which works perfectly with Cartwright's vocals, which have improved over the last year. This may be due to the addition of guitarist Theo Le Derf, whose fretwork both adds to the music and allows Cartwright to focus on the rest of the instrumentation. Gemma McCabe returns to add some spoken word into the song, as well as providing backing vocals. Meghan Bradford adds some jazziness with her alto and soprano Saxophone. Soundwise, the EP is extremely versatile, which is impressive when you consider there are only 3 songs in total. From melodic metal style riffage to beautiful almost ambient synthwork, none of it feels forced, and is a great testament to Ged and Theo's compositional skills. It's an odd mix if you're not into experimental stuff, but a good listen nonetheless. Looking forward to a full album one day from these guys! 8/10

Reviews: Blaze Bayley, Conjurer, HYVMINE, Mildlife

Blaze Bayley: The Redemption Of William Black (Blaze Bayley Records)

The third record in the Infinite Entanglement trilogy and the continuing tale of William Black, The Redemption Of William Black is the latest record from wild eyed wailer Blaze Bayley and his backing band who are essentially Absolva. Like the first two records in this series, it's full of fantastical science fiction that sees narration come from Chris Jericho and numerous voice overs adding to the story giving the album a theatrical element including Cardiff's own Rob Toogood (Fuel Rock Club) who once again reprises his role from the last two albums (the villain of the piece) and he's part of the spoken word contingent that drive the concept along.

The opening part of this record has whiff of the old school as the band plow through NWOBHM styled tracks that follow (Prayers Of Light), the tonal shifts are notable where as the previous record had a darker mood this one moves between sombre and triumphant with the sprawling progressive tunes such as Eagle Spirit really giving Chris Appleton (guitar), Martin McNee (drums) and Karl Schramm (bass) enough time to spread their wings a little, that's not to say that they don't show their talents elsewhere on Redeemer they McNee thrusts the track forward with his kickdrums while Appleton layers his guitars for the twin lead sound favoured by Bayley's most high profile previous employer. There's a good myriad of sounds on this record wrapped up in a classic metal package, although Life Goes On bears an uncanny resemblance to The Show Must Go On by Queen.

Bayley himself is still a favourite vocalist of mine, when he's singing his own stuff there are few that can touch him for power and depth in his vocal prowess. The mix of fanciful sci-fi and contemporary lyrics make the album (and the storyline itself) a lot cleverer than a standard heavy metal album can be. Musically the inclusion of acoustics (Human Eyes), layered prog portions and Bayley's theatrical delivery once again  make the William Black saga some of the strongest material Bayley has been associated with, a fitting end to the story, it will be interesting to see where Blaze goes after The Redemption Of William Black closes this narrative. In the meantime keep an eye out for tour dates where you'll be able to see these and other songs from the trilogy live (along with classics). 8/10

Conjurer: Mire (Holy Roar Records)

Let’s jump back a bit shall we? I first saw Conjurer playing Fuel Rock Club in the middle of the day at the inaugural Red Sun festival in 2015, since then Rich has both interviewed the band and witnessed them at Ritual festival last year and the other music media has caught up on what we saw ages ago, they have been championed by Kerrang!, Metal Hammer, BBC R1, The Independent and the Midlands band have rapidly become the most talked-about young metal band from the UK. So to say their debut album was anticipated would be something of an understatement but as I pressed play on Mire the opening salvo of skull fracturing, nihilistic heaviness, dual extreme vocals and a scope to their song writing that bands 10 times more experienced wouldn’t be able to pull off, showed that all the attention is warranted and then some.

Their sound and by an extent Mire is an amalgam of the ferocity of early Mastodon, the fret mangling groove of Gojira (bowels of hell bass playing by Conor Marshall), the progressive depth of Opeth and the Britishness of Winterfylleth, a track such as Thankless for instance has 7 minute runtime in which all hell can break loose as Jan Krause can unleash the dogs of war, attacking with all their might one minute but the next you may get a quieter passage replete with noodling clean guitars and then an amalgamation of the both in a sludgy, doomy, noisey post metal menagerie. Mire is the future of extreme music built upon its past but with the fearlessness of youth, Brady Deeprose and Dan Nightingale mangle their guitars, scream, shout, roar and occasionally sing across 7 shape shifting tracks, Retch being the shortest but heaviest and Of Flesh Weaker Than Ash building and building into a proggy groove so deep you could bungee jump into it.

They have honed the bleak, dark soundscapes on this record through numerous years of touring and the music is more precise and deadly than tea with the Russians, if you have a heart it’ll rip it straight out of your chest and won’t give you a receipt, however you’ll be grateful and ask to go again. Multiple listens enhance this record and it has to be heard in its entirety to really leave a lasting impression, the future of sonic extremity is in good hands with Conjurer. Much like Gandalf do not take them for just being capable of a few cheap tricks, this is real magic worthy of a legendary (Electric) wizard. 10/10

Hyvmine: Earthquake (Seek & Strike)

Hyvmine is the full band project of virtuoso guitarist Al Joseph, he wanted to explore progressive metal in a band setting rather than as solo artist and while there is prog here, the overriding style though is that of American post-grunge metal with Alter Bridge/Creed fusing with the djenty prog style of Tesseract and the more modern Symphony X in use of keyboards and thrash-like riffs. Opening with Shift you get the initial Alter Bridge style that moves into a very synth heavy finale, however Mirror Master really sounds like post Paradise Lost Symphony X courting the American radio with the emotive vocal style but backed by the expert precision playing.

Earthquake really ramps up the palm muted riffs on the chugging along nicely but never takes things to the overly complex levels of Meshuggah etc, it's enough to get your head nodding or indeed start a big stompy pit but the music is still approachable. I must say for all the musical ability on this record Joseph's voice is excellent, soulful but with a requisite amount of grit, on ballads such as the emotive title track he really shows off his vocal and guitar prowess. Yes you read that right there are of course ballads, they need to give Myles/Scott and Mark a run for their money in the seniment stakes. Earthquake is a very satisfying modern metal record that has enough Californian FM radio emphasis and prog metal grunt for anyone. 8/10

Mildlife: Phase (Research Records)

James Donald, Adam Halliwell, Kevin McDowell and Tom Shanahan makeup Melbourne group Mildlife, their musical style is mish-mash of jazz, psych and disco that has been honed by their wild improvisational live shows, nothing particularly Australian at all. The bands entire ethos is too push musical boundaries and much like the British cerebral prog bands such as King Crimson, The Alan Parsons Project and even Steely Dan before them, their expert use of analogue synths which shimmer on The Magnificent Moon as the funk bass line kicks in to give a groove that's irrepressible.

Phase is the band's debut and it's got 6 psychedelic, space rock jams. The funk gets jacked up for Zwango Zop which has a touch of Barrett Pink Floyd  behind the Funkadelic riffs. Unashamedly retro Mildlife take you back to those heady days of musical flights of fancy where anything was permitted, their use of primitive musical instrumentation including flutes, Moogs, percussion and of course bass, drums and guitar while they use vocals sparingly, this is more of a stylistic thing than a necessity as the vocals are pretty good. If you were one of those doing calculus during the Summer Of Love then Mildlife will be a the answer to all your proggy prayers. 9/10

Reviews: The Crown, Templeton Pek, Svartanatt, Greystone Canyon (Reviews By Paul)

The Crown: Cobra Speed Venom (Metal Blade)

Well, this was just brutal from start to finish. Tracks like Necrohammer, Rise In Blood, the thunderous Iron Crown and the blisteringly aggressive title track combined the hardest, foulest stuff that Devildriver can muster with some absolutely cruel death metal to deliver an hour of rib breaking extreme metal. With an interesting and some might say, challenging history behind them, the band’s current line-up stands at Johan Lindstrand on vocals, Magnus Olsfelt on bass, Marko Tervonen and Robin Sörqvist on guitar and drummer Henrik Axelsson. 

Having been around for 27 years in various guises, it’s fair to say that the band don’t need to prove themselves but even so, there is something of a challenge to their peers within this release. The technical display on the instrumental Where My Grave Shall Stand contrasts with the head crushingly heavy raging on many of the other tracks. The Swedes return to Metal Blade Records is supported by a high intensity and motivation. Extreme speed and aggression mixed with classic heavy metal and rock n' roll; what’s not to like? 8/10

Templeton Pek: Watching The World Come Undone (Drakkar Records)

Founded in Birmingham in 2005, Templeton Pek have toured with a range of the big guns in their punk/hardcore pool. These include Bad Religion, Sum 41 and Zebrahead. Against this impressive resume the band has released several albums and EPs. No Association in 2009, established their haunting sound, which suggests hardcore luminaries like Ignite and Rise Against, with their music always featuring a political note. The band released the EP Slow Down For Nothing (2012), albums Scratches And Scars, Signs (2013) and New Horizons (2015). The smouldering rage which rails against the injustices in the world is admirable and with the current world wide political climate ever more complicated, I can’t argue with the whole theme of the album which focuses on the craziness of the Brexit situation. 

Indeed, Neil Mitchell, vocalist and guitarist with the band is clear “Brexit was permanently on our minds when we were writing this album. From the perspective of a touring musician it’s difficult enough as it is just to exist. The potential financial and logistical restrictions that we are about to face are worrying, never mind the other consequences for the whole country.” So, an album crammed full of protest and political statement and about as close to a concept album as you could get. Melodic hardcore is one of my least favourite genres, and I struggle massively to find anything enjoyable in it. 

However, Templeton Pek’s themes for the album did at least pique my interest in the subject matter. Like most of the genre, it appears to be repetitive but Watching The World Come Undone is a mature release which allows full expression. If you like this type of music, I reckon this might be in your albums of the year. 7/10

Svartanatt: Starry Eagle Eye (The Sign Records)

Swedes Svartanatt deliver classic rock in the vein of countrymen Graveyard an numerous other retro outfits who seem to be flooding the scene these days. But it’s not all 1970s classic rock sound with a complete mixture of sounds and influences although it really is full on retro in opener The Children Of Revival. The smoky vocals of Janu Lehtinen immediately catch the attention. There’s a rock ‘n’ roll stomp on Wrong Side Of Town, and a blend of psychedelia and progressive rock with the dense organ sound of Martin Borgh on Duffer. A couple of ballads change the pace with the powerful Wolf Blues particularly impressive. Starry Eagle Eye is an honest, stimulating and thoroughly enjoyable release. 7/10

Greystone Canyon: While The Wheels Still Turn (Rockshots Records)

Australian outfit Greystone Canyon’s name was inspired by the freedom of wide open landscapes, something Australia and America very much have in common. So says vocalist /guitarist Darren Cherry. Recorded in Goatsound Studios in Melbourne, Australia, and then mixed in Canada by Grammy nominated producer Glen Robinson, who had engineered, mixed and produced legendary acts like Annihilator, Queensryche and Voivod. According to the band’s press release they are influenced by the likes of Led Zeppelin, Alice Cooper, Ozzy Osbourne, Megadeth and King Diamond. 

I find that strange as there is little of any of those artists in Greystone Canyon’s sound. It’s not a bad album, with some decent hard rock tracks but having given it a couple of spins there is little that lingers long in the memory. River Of Fire being the only one due to its smouldering guitar work. Solid harmonies dominate throughout the release and the musicianship is solid. It just doesn’t captivate in a way that would allow it to sit at the feet of the luminaries mentioned above. 6/10

Reviews: Testament Reissues (Review By Paul)

Testament Reissues

Back in November Nuclear Blast announced they were going to reissue five classic Albums by the California thrash behemoths. The three studio albums, Demonic, The Gathering and First Strike Still Deadly, along with Live At The Fillmore and Live In Eindhoven. Live albums are always touched up, so I thought, with the arrival of Chuck Billy and Co in the UK next month, that it might be worth getting stuck back into these releases.

First up is Demonic and what a beast of an album this is. Huge riffs, malevolent growling from Chuck Billy and the drumming of the monster Gene Hoglan all add up to produce an album that started the move to an even heavier almost death metal sound for the band. Opening with the skull crushing Demonic Refusal, it is relentless until the final bars of Nostrovia. Demonic was the seventh album for the band and came amid a period of lineup changes and a struggle with their sound as grunge took the middle ground. Previous album Low had meet with a mixed response but Demonic grabbed the bull by the bollocks and boy does it hit hard. Jun-Jun, the bludgeoning John Doe, the thrash fusion of New Eyes Of Old and Ten Thousand Thrones all punch in the throat. An underrated release that always pleases. 8/10

Two years later and with more changes to the lineup, the band moved to a faster thrashier sound which really upped the game another level. Is there a better, more frenetic opening to an album that the blistering D.N.R. (Do Not Resuscitate)? I doubt it. 1999’s The Gathering has long been one of my favourite Testament albums and holy mother of Mary does it deliver. Steve DiGiorgio and Dave Lombardo provided a formidable rhythm section, anchoring a blistering album which contained visceral riffage from Eric Peterson and James Murphy and an expansion of Chuck Billy’s vocal delivery with a wider range and diversity than on previous albums. The Gathering set the blueprint for future Testament albums and contains some massive tracks. I’ve always loved the prophetic imagery associated with 3 Days Of Darkness, a brooding stomping beast, whilst the frenzied Legions Of The Dead and the sheer power of Riding The Snake provide a demonstration of just how vital Testament were and still are to the metal scene. 9/10

Completing this trio is the compilation of reworked tracks from The Legacy and The New Order, First Strike Still Deadly is a strange affair with original vocalist Steve Souza adding the vocals on Alone In The Dark and the B-side Of Trial By Fire, Reign Of Terror. What was of most importance here was the return of Alex Skolnick as well as the last recordings with DiGiorgio until Brotherhood Of The Snake in 2016. With several compilations already on the market it was hard to understand the need to refine classic tracks. However, stick Trial By Fire, Over The Wall or Burnt Offerings on the headphones and crank the volume up and it’s impossible not to bang that head. 7/10

The Testament back story is a tale of ever changing personalities, infighting and health scares but this is a band who since 2008’s Formation Of Damnation have been a must see band if in town. Roll on 29th March and the arrival of Testament to Bristol.

A View From The Back Of The Room: Electric Six (Live Review By Paul)

Electric Six: The Globe, Cardiff

This was a rescheduled gig from December 2017. Detroit’s finest back in Cardiff for their annual masterclass in rock, pop, alt, punk and smooth disco tunes. Yet again it proved to be a fabulous evening. Having missed the opening act we made it in with plenty of time for the Alt-punk of Japanese three piece Mutant Monster (8). These ladies have been around for several years and their fierce yet catchy high tempo 30 minutes was superbly received by a Globe audience who partied like it was a Saturday night. The band comprise Be on guitar and vocals, Meana on bass and vocals and drummer Chad who adds harmonies to the choruses. It was inspired stuff, with punky riffs and thunderous bass lines. Unlikely to be in the UK on a regular basis, it is definitely worth catching these ladies if you get the chance.

We’ve eulogised at length about Electric Six (10) in the past. I’ve seen them many times and they never disappoint. This show stepped it up another level. The last date of a 29 date European tour, you could feel that the band were going to go for broke and they really did. A setlist crammed fuller than a panic buyer’s bag in Lidl, Dick Valentine and the gang kicked off the evening with Rock ‘n’ Roll Evacuation and proceeded to slay. Classics from their 13 albums were interspersed with several new tracks from their wonderful How Dare You release (which is well worth getting hold of). The usual sing-a-long tracks, Gay Bar and Danger! High Voltage! Prompted far too many camera phones in the air but aside from that the crowd contented themselves with hard pogoing, the odd intense mosh, such as when Valentine dived into the audience, and abuse of Red Stripe.

As usual the band were musically incredible, with the guitar work of Johnny Na$hinal and Da Ve integral. Drummer Two Handed Bob maintained the beat whilst the steady bass lines of Rob Lower and keys of Tait Nucleus ensured momentum. Despite ending the main set with the classic combination of Synthesiser and I Buy The Drugs, it wasn’t over and a feverish Dance Commander led into the highlight of the evening as the band swapped places with each other to deliver a cover of  American Alt-rock band The Dean Ween group Show Stopper (from their album released in January this year). Two Handed Bob took care of vocals whilst Valentine led the way with a flawless effort on the drums. Magic stuff. As The Globe emptied into the cold damp night, you could only reflect on why so few Mondays are like this. Selfishly, I really hope that come December, Electric Six are back in the UK for another round of Improper Dancing.

Reviews: Andrew W.K, Sebastien, Poem, We Sell The Dead

Andrew W.K: You're Not Alone (Red/Sony Music)

"When it's time to party, we will always party hard!" It was with these words in 2001 that Andrew Wilkes-Krier established himself as the boss of all things party, since then the albums have come, the wall of sound heaviness of I Get Wet has dissipated but W.K. is still seen as the bastion of all things party, in the nine years since his last album 55 Cadillac he has established a political party, appeared in numerous films, written numerous articles and books and has become a self help guru basing his approach on partying is life and life is partying.

It was only a matter of time before the huge sound of his debut returned with more life-affirming positivity blowing you away with music that moves from stadium rock, through punk to pop on this 16 track album which starts with an epic orchestral introduction and has numerous spoken word pieces that has Andrew giving his outlook on life and advising the listener that . The album is probably the most positive you will hear this year, it's a direct attack on negativity and using your own demons and self doubt as a fuel to be the best you can be. Music Is Worth Living For is a massive stadium anthem that will get you throwing your hands to the sky in celebration of music as way of both healing and defiance, with only one track gone you've got to catch your breath before the edgy punk of Ever Again explodes into a massive chorus of self confidence.

A pretty strong start but the record doesn't have the immediacy that I Get Wet had, much like Andrew's follow up records The Wolf and Close Calls With Brick Walls it's not really supposed to. This record is much more musical than anything he's done. It all sounds very big with multi-instrumentalist/producer notching every instrument up to maximum to make sure there is an encompassing noise. (Tip play it through speakers). There are moments greatness of course; the piano pounding Ramones-alike I Don't Know Anything, the obstinate The Party Never Dies and the anthemic The Devil's On Your Side, power ballad that is Total Freedom and the final title track are all winners and the record is well spaced as the spoken word pieces split the album into a few distinct parts. There is enough on here to be added to his raucous live shows and it's a welcome return from one of the most inspiring figures in rock music. 8/10

Sebastien: Act Of Creation (Escape Music)

Czech melodic power metal band Sebastien are back with their third album, their follow up to the 2015 record Dark Chambers Of Deja Vu a record that was 5 years in the making. This has taken less time to produce but still has the cinematic scope of the previous Sebastien albums, if I'd make a comparison Sebastien sound a lot like Kamelot musically with theatrical symphonics throughout but never taking away from the riffy power metal heart. Vocalist George Rain sounds a like (Original Kamelot vocalist) Khan so that could be another reason for the comparison, he performs like thespian approaching every song no matter how heavy or dramatic with the same adaptive soulful vocal
prowess.

Continuing the performance style of this record and the similarities to Kamelot the record features an ensemble cast of guests on vocals as Marián "Mayo" Petranin (Signum Regis) and Apollo Papathanasio (Spiritual Beggars) both lend their pipes with Apollo appearing on the albums best track Die In Me. Along with them are two Czech ladies adding the female harmonies which are important to the symphonic style of music. Act Of Creation seems to be based upon some religious lyrics and quite a bit of romance an unrequited love rearing it's head as well.

The one issue with the album is that at 14 tracks it is a little long and you do find your attention wandering a little in the middle before you are focussed again for the storming end, still it's a solid melodic power metal filled with good performances all round. 7/10

Poem: Unique (ViciSolum Productions)

Greek/Swedish band Poem I'd consider to be one of the biggest progressive bands to come from Greece and along with Need and Tardive Dyskinesia they are carving out a niche for themselves as a band with interesting, intelligent, emotional progressive music that focuses on songwriting over musical posturing. Unique is their third album and it brings to life their special blend of prog, alternative and grunge metal that has touches of Deftones, Tesseract and Tool, the songs bring the loud/quiet dynamics of grunge, but with the technicality of the modern era of progressive metal. False Morality the first of seven songs on this record set the theme as Takis (bass) and Stavros (drums) lay down a tasty groove for Laurence (the lone Swede) and George to ramp up the distortion with offbeat riffs.

Four Cornered God does the same with the tribal beat of Tool and George beautifully flaunts his incredible vocals, I'd consider him to be one of the best vocalists in European prog metal able to give a touching rawness and fervent aggression check Discipline for both. Unique is an album that lives up to it's billing, there's a lot hear that may be recognisable to anyone familiar with modern prog metal but they inject their own style into these well worn troupes. More absorbing progressive music from Greece, what a hotbed for this style the country is at the moment. 9/10

We Sell The Dead: Heaven Doesn't Want You And Hell Is Full (earMusic)

Apparently We Sell The Dead were formed upon the question “What if Jack the Ripper had played in a band? A heavy metal band?” it's an interesting concept for sure and it sets We Sell The Dead up as a steampunk influenced horror drenched melodic doom metal band formed by Niclas Engelin (In Flames, Engel), Drömriket’s Jonas Slättung, Gas Lipstick (former HIM) and the voice of Apollo Papathanasio (Spiritual Beggars, Firewind), it's a record based around Victorian themes that tries to point out injustice, but expands the narrative into the extreme, playing with themes of ghosts, death or religion, it's a theatrical multimedia experience apparently but as we only have the debut record to go on rather than anything else, all conclusions have to be taken from there.

Heaven Doesn't Want You And Hell Is Full brings the thundering doom from the outset as Apollo's soulful vocals doing what they do best in Spiritual Beggars which is the major comparison I can make to this band especially with some of the fat juicy riffs that Niclas and Jonas peel off. They do change a little though as Imagine is a percussive chugging track, whereas Turn It Over has some melodic rock influences creeping in, built around Gas' expressive drumming. There's not much I can mark this album down on, all the performances are tight but it does get a little uninteresting as it progresses with Trust's funeral doom dragging on for a little to long. Nothing special but nothing terrible either. 7/10

Reviews: The Bad Flowers, Feed The Rhino, Black Wizard, Vojd (Reviews By Paul)

The Bad Flowers: Starting Gun (Self Released)

Formed in 2014 in the Black Country, the debut album from The Bad Flowers will hit all the right notes for fans of Led Zeppelin, Rival Sons and even The Cult. Soaked in a hard rock heavy blues style, the band make hell of a noise for a trio. Tom Leighton whose Ian Astbury style vocals catch the ear early, also plays a mean fuzzy guitar with some heavy riffs. The raw power of the band has been honed by extensive touring which allow bassist Dale Tonks and drummer Karl Selickis to thunder and pummel throughout. Leighton has a swagger which is really appealing, confident to the point of arrogant is good at times on tracks such as Be Your Man and opener Thunder Child. There isn’t a bad tune on this debut and on occasion it is scintillatingly good. With several tours under their belt, The Bad Flowers will undoubtedly go from strength to strength, in no small part to their radio friendly delivery. Well worth checking out. 7/10

Feed The Rhino: The Silence (Century Media Records)

Metalcore has never excited me. Kent’s Feed The Rhino have been around since 2008 and The Silence is their fourth release. I’m unfamiliar with their previous work so have based my opinion solely on this album. To be fair, it’s a lot more melodic in places than I expected with a sound akin to the Deftones in places. It’s still got that snarly shouty vocal style that grates with me in places but when Lee Tobin hits the smoother clean vocals, such as on 68 then it isn’t bad. However, when it does get shouty then it really does become hard work. All Work And No Play Makes Jack A Dull Boy case in point. I’m sure the yoof will love this and pack out the halls with their ferocious pits. It’s listenable, but I wouldn’t part with any cash for it. 6/10

Black Wizard: Livin’ Oblivion (Listenable Records)

Vancouver metal merchants Black Wizard may have some stoner elements to them, but this album contains some fine heads down heavy metal of the highest order. Feast And Famine may be one of the most intense, rampaging and ferocious tracks I’ve heard for years and the crushing acceleration that blasts you through the windscreen on Portraits is a joy to listen to. James Wolfe slows the pace right down, a megalodon of a track, crushing riffs and thunderously ominous drums whilst the psychedelia of Cascadia sets you up nicely for a trip. Adam Grant’s vocals are honest and grizzly, with his and Danny Stokes dual guitar work providing some neat interplay, such as the Maiden-like Poisoned Again. Black Wizard hit the UK for some dates in March; a random selection that includes Glasgow, Falmouth, Coventry and London. If you are stuck for an evening you could do far worse than stick your noses in on these guys. It’s decent stuff. 7/10

VOJD: The Outer Ocean (Playground Music Scandinavia)

Unsurprisingly VOJD hail from Stockholm. Their sound is traditional heavy metal with a psychedelic twist. The Outer Ocean is their debut release and it combines some classic old school sounds with a fresh new approach. Vocalist Joseph Tholl has a voice which has shades of Demon’s Dave Hill at his peak which is no bad thing. There’s a definite stoner sound to a number of their songs, such as the opener Break Out and Delusions In The Sky, both which get the foot tapping quickly. Secular Wire slows the pace slightly although the vibe which surges through this album quickly ups the tempo once more. There’s a right fuzzy blues sound which also throbs through the heart of this impressive album, and some very neat guitar work, such as Vindicated Blues and the trippy Dream Machine, complete with some soaring harmonica. Overall a rather stellar release. 8/10