Reviews: Feral Chaos, Perfect Plan, Coltsblood, Svalbard (Reviews By Rich & Paul S)

Feral Chaos: Mankind In Ruin (Self Released) [Review By Rich]

Mankind In Ruin is the debut album by Finnish grinders Feral Chaos. Although not known for it there is some quality grindcore to be found in Finland with Rotten Sound being the prime example and Feral Chaos are another great band to add to the list. Mankind In Ruin is as to be expected an absolutely furious album with 15 songs spread over 30 minutes all of which are chaotically violent and heavy.

The songs range from  straight up grindcore to those which have a more crust punk leaning to those which veer almost into death metal territory. The HM-2 pedal is utilised on the album giving the guitars an ultra filthy sound. Whoever started using the HM-2 pedal with grindcore is a genius as the filthy guitar distortion totally suits the music. This is a bit of a repetitive album but as with nearly all grindcore albums it doesn't outstay its welcome and whilst nothing special is a very nice album of dirty grinding madness. 7/10

Perfect Plan: All Rise (Frontiers Records) [Review By Rich]

All Rise is the debut album from Swedish melodic rockers Perfect Plan and another in a long line of AOR and melodic rock bands with albums being released by Frontiers Records. Perfect Plan don't deviate from the tried and trusted AOR/melodic rock formula utilised by countless other bands but Perfect Plan demonstrate great songwriting, magnificent performances and bags of energy.  Nearly all the songs on All Rise are on the harder side of the AOR/melodic rock spectrum which means we don't have any irritatingly sappy ballads dragging the album down.

Songs such as Bad City Woman, Stone Cold Lover, Too Late and 1985 are hard rocking earworms which demonstrate the talent of the band and the amazing voice of frontman Kent Hilli. All Rise is for all intents and purposes another AOR/melodic rock album released by Frontiers Records but what Perfect Plan lack in originality they make up for in passion and integrity.  This isn't gonna change your mind if you cannot stand AOR but if you are a fan of the genre you will find much to love in this album.
8/10

Coltsblood: Ascending Into Shimmering Darkness (Black Bow Records) [Review By Paul Scoble]

Coltsblood’s second album Ascending Into Shimmering Darkness, is a massive slab of oppressive, nasty funeral doom / sludge. The Liverpool based band, describe their sound as being ‘unfathomable doom’ which fits very nicely. The 5 tracks on this album all fit into slow, menacing, extreme doom format that is a little reminiscent of Lycos or Void Meditation Cult. In places it also feels like Asphyx’s slowest material, but with a more black metal feel to the production.

The album does have some faster parts to it, which are pure nasty black metal. Intense, claustrophobic tremolo picked riffs and blast-beats, which reminded me of a looser, less dense Abyssal. This album is heavier than a million elephants stepping on your foot all at the same time, it is not for the faint hearted. But, if you like an album to beat the living crap out of you, then you need this in your life. Wonderfully viscous. 8/10

Svalbard: It’s Hard To Have Hope (Holy Roar Records) [Review By Paul Scoble]

Svalbard are a Bristol based post metal band, It’s Hard To Have Hope is their second album. The title of the album is unfortunately very apt. It features 8 tracks of rather poor Deafhaven style post metal. Part of the problem with this album is the production. Most of the rhythm guitar is drowned out by a continual tremolo picked melody guitar track, that never lives up to it’s prominent place in the mix. The riffs, when you can hear them, are a little staid and hackneyed. The drumming is also a problem. The blastbeats, when they use them, are a little weak, but the biggest problem is that they don’t really fit with the music. The time signatures are right, but stylistically the drumming feels more like hardcore drumming. Massive overuse of the snare drum starts to grate after a couple of songs, and when the songs slow down the drumming is lumpen and unimaginative.

But the music is only the start of this albums issues. The vocals are just terrible. Most of the vocals on here are supposed to be harsh, but are in fact subpar screamo style vocals, that set my teeth on edge. It sounds like a petulant teenager screaming in your face about not getting enough pocket money. The song titles suggest the band have a left wing / liberal stance (which I would usually like, being a left wing commie type), but trying to concentrate on the lyrics is so hard when the voice is this bad. The only places where this isn’t a problem are on a few passages where the vocals are clean, and these are the only places where the album works. The track For The Sake Of The Breed is a great example of where clean singing really helps the album. It’s probably the only standout track on offer here, if they can try to develop what they got right on this song, then they might have a future. A small amount of promise, in an otherwise disappointing album. 4 /10

A View From The Back Of The Room: Aaron Buchanan & The Cult Classics

Aaron Buchanan & The Cult Classics, Clwb Ifor Bach, Cardiff

There are a few bands that you will never turn up the chance to see and Aaron Buchanan & The Cult Classics are becoming one of those bands. The former Heaven's Basement singer has hit his stride with this band, we all saw his capability in his previous band but the too much, too young, too fast curse reared its ugly head and now outside of the arenas the reinvigorated Buchanan along with the band called The Cult Classics are tearing up smaller, sweatier venue across Europe. Having played the same venue on their previous tour there was sense of deja vu but that didn't matter, when the fire in this band burns so bright you could see them 20 times and still tap your feet, nod your head and by the fifth time be singing along.

Arriving late for both support bands the noises V0id made were acceptable enough having a radio friendly radio rock sound they were an act I could definitely see again however I didn't really catch enough of them to give them a score. Still maybe next time.

A short changeover led to a truncated set, due to the post gig club night, but with so much still to prove they Cult Classics took to the stage and kicked things off with their CD perfect versions of their own brand of hard rock. Again mixing Cult Classic material with Heaven's Basement works this time it was the Cult Classic songs that struck more of a chord with audience, possibly due to some high profile support slots for the band, highlights included Left Me For Dead, Dancing Down Below, the single All These Things I've Said And Done, my personal favourite Fire In The Fields Of Mayhem and the always astonishing Man With The Stars On His Knees.

After some revolving membership (something that is encouraged, due to the band's collaborative nature) the honed rhythm section of Mart Trail (bass) and Paul White (drums) were the pace setters for the evening imbuing grooves and percussive power to the storming riffs of Laurie Buchanan and Tom McCarthy, the two switching between lead and rhythm but McCarthy taking the lion's share. The small but highly energetic crowd sang their hearts out and Aaron was on fine form his vocals are staggeringly good, he's built for stadia but in small venues he really tears the house down. As they were on strict time limit there was very little chit chat just time for a few thank yous and it was onto the next one leaving the set striding along well. A brilliant performance all round and yet another solid but criminally overlooked booking from Pity My Brain, when they come round again don't miss it! 9/10

Editors Note: I just want to make it known that I really don't like club nights that follow gigs, it means everything seems a little rushed and there is no time for the band to mingle, or sell merch after the event, before the security march in and start shouting for everyone to leave, either venues shouldn't put gigs on before clubnights or much like Fuel does offset the start time to the club night after a gig.   

Reviews: Shinedown, Amorphis, Witchsorrow, Big Boy Bloater (Reviews By Paul)

Shinedown: Attention Attention (Atlantic Records)

Huge in the USA, becoming increasingly big in the UK and Europe, there is no doubt that Jacksonville quartet Shinedown have worked incredibly hard since their formation back in 2001. Their sound has been categorised as alt-metal, alt-rock, post-grunge and nu-metal. I think it would be fair to say that the band are a hard rock band, touching on some if not all the above. Attention Attention is the band’s sixth album and has a darker, heavier tone and feel than 2015’s Threat To Survival. The album has a conceptual theme which depicts a human overcoming their negativity through personal struggles to be reborn as a new person.

Crammed full of the arena rock that the band has crafted as their own, there are few decent tracks, including Devil, Pyro and Monsters, all which contain enough despair and gloom to make them feel a bit uncomfortable. Brent Smith’s distinctive vocal is as prominent as ever and Shinedown’s sound is of course, instantly recognisable, so it’s a challenge to listen to this release without dismissing it as “typical Shinedown.” Shinedown don't do a lot for me, and their lighter elements on tracks like Darkside fail to ignite the spark, but overall, the band, who I’ve seen several times over the years, have produced another polished and impressive release which sits comfortably alongside their outstanding Sound Of Madness release, a decade ago. 7/10

Amorphis: Queen Of Time (Nuclear Blast)

Few albums were as impressive in 2015 as Amorphis’ 12th full length release, Under The Red Cloud. An absolute masterpiece, it remained on repeat for many months. Three years on and the Finns may have just pushed the envelope even higher. Queen Of Time is a stunning piece of work. 24 years since their sophomore release, the legendary Tales From A Thousand Lakes, the mix of metal, folklore, oriental fusion and rock continues to surprise. Queen Of Time contains a mix of prophetic storytelling which provides a dramatic, cinematic feel from beginning to end. Guest musicians including Eluveitie's Chrigel Glanzmann, laryngeal singer Albert Kuvezin and saxophonist JØrgen Munkeby add depth and quality to the songs. The already classic opener The Bee starts the album in typical Amorphis manner, melodies flow seamlessly with the contrast of raw harshness, grandeur, elaborate orchestration and melancholy combining perfectly.

The voice of Tomi Joutsen nestles comfortably, his growls and clean vocals adding elements of light and shadow. The inclusion of orchestra and choir merely enhances the compositions. The black metal growling during Daughter Of Hate challenges the oriental melodies whilst Wrong Direction is deliberately gentle and reduced by comparison. Heart Of The Giant is a massive song, bursting with power, choral backing, Eastern styles and a blistering pace whilst penultimate track Amongst The Stars sees Anneke Van Giersbergen make a textbook contribution. Lucky 13? It really should be. Queen Of Time is flawless. 10/10

Witchsorrow: Hexhammer (Candlelight Records)

With a mission to celebrate the traditions of doom as practiced by such legends as Black Sabbath, Cathedral, Saint Vitus, Trouble and Candlemass, Hampshire’s Witchsorrow have delivered three albums of doom metal which has placed them amongst such illustrious company. The Hampshire outfit, formed by frontman Necroskull and bassist Emily Witch over a decade ago (later completed by drummer Wilbrahammer) deliver another doom obsessed offering, with a new collection of hymns. The Hexenhammer, the alternative name of the Malleus Maleficarum, the dreaded book by fifteenth-century Catholic clergyman Henricus Institoris that detailed and endorsed the torture and extermination of witches by violent means.

Recorded at Skyhammer studio with long-time co-conspirator Chris Fielding (Conan, Primordial, Electric Wizard), the songs on Hexhammer crush completely, with tracks such as The Devil’s Throne and the fantastic Eternal exploding the darkest doom with blisteringly strong heavy metal, contrasting with the macabre funeral pace of the title track and Demons Of The Mind. Focusing on the extinction of humanity, the album is bleak, dark and swamped in gloom. As Necroskull commented, “I’ve always been obsessed with the end of the world. On previous albums I’ve been wanting it to happen, because I was caught in a very dark place. On No Light..., I was almost angry that it hadn’t happened. This time, it’s a massively confusing time where we’re basically staring at it and waiting for it. I have no solutions. There are none to be had”. If you haven’t tasted the soundtrack to 2018, Hexenhammer may well be it. 8/10

Big Boy Bloater And The LiMiTs: Pills (Provogue)

As a change from the usual grinding chainsaw action we tend to focus on, the latest album from the blues maestro Big Boy Bloater is as welcome as the brief blast of summer sun we experienced recently. Pills reflects the Surrey born guitarist and singer refocusing. As he stated reflecting on the 2016 Luxury Hobo tour “I guess a lot of stuff happened on the Luxury Hobo tour. Maybe after the depression, my minds a bit more open and turned on to things, so I have observed more.” Pills was recorded in December 2017 with producer Adam Whalley, the band trimmed down to a power trio of Big Boy Bloater (Vocals/Guitar), Matt Cowley (Drums) and Steven Oates (Bass). With the fabulous title track kicking off proceedings, it highlights the constant need for pills today with a sinister edge. From there on it’s a composite of quality tunes which can’t fail to raise a smile and get the foot tapping. The autobiographical Friday Night’s Alright For Drinkin, the poppy Stop Stringing Me Along through to the sinister tales that weave themselves into place on the beautifully juxtaposed Oops Sorry and the Tom Waits style Mouse Organ.

What’s most impressive is how the band effortlessly flit through styles and pace, creating an album full of depth, emotion, humour, anger and sheer fun. “I always used to like the Portmanteau horror films where they have 3 or 4 different stories in the film. So you’ve always got this constant change and you never really got bored of one story and then there this theme tying it all together” said the Big Boy. With a packed recent history of top quality gigs under their belt, included Camden Rocks Festival and Ramblin’ Man Fair in 2017, there is an air of quiet confidence and a quality that is rare, especially in the saturated blues market. Pills is well worth checking out, with an anthology style making this album such an engaging proposition. 9/10

Reviews: Maiden UniteD, Hercules Morse, Circle Of Silence, Petyr

Maiden UniteD: Empire Of The Clouds (Self Released)

Bassist Joey Bruers was asked by the Dutch Iron Maiden fanclub to do something special for a live show back in 2006. Born out of this was Maiden UniteD an unconventional Maiden tribute that sees popular Maiden songs re-interpreted for acoustic and classical instruments. The latest offering is their take on Maiden’s most recent opus The Empire Of The Clouds probably the longest Maiden song in existence I’ll be dammed if you will ever here the band play it live so this four part acoustically led version will have to suffice. Of course it’s not just any old cover the mix of acoustic instrumentation from bassist Joey Bruers (Up The Irons), guitarist Ruud Jolie (Within Temptation, For All We Know) drummer Mike Coolen (Within Temptation) and pianist Huub van Loon (The Ultraverse) some beautiful cello from Perttu Kivilaakso (Apocalyptica), bubbling Hammond from Thijs Schrijnemakers (Orgel Vreten) and excellent emotive vocals from Wudstik (For All We Know, Ayreon).

This mostly Dutch band have done the Irons proud with additional news reel audio and narration from Edward Reekers (Kayak, Ayreon) bringing you into the story of His Majesty’s Airship R101 in marvellous full bodied passion, the electric instrumentation is not missed as Maiden UniteD have the talent to pull off the same epic feel of the original. It also stands a tribute to the songwriting prowess of Iron Maiden (Bruce especially) as even without the full power of heavy metal behind it this song still has depth. This is two part EP with the studio version of the track on disc 1 while disc 2 contains the live recording from January 27th 2018 when the band performed at the Royal Theatre of Amsterdam: Carre, the live performance has as much brilliance as the studio version but is just a bit more raw it closes out with an almost balladic version of Killers which would make Paul Di’Anno hurl, but I think its adds a new edge to a oft-forgotten Maiden track. Empire Of The Clouds is a wonderful album for any Maiden fan that goes against the normal tribute boundaries. Up the Irons! 8/10

Hercules Morse: Hercules Morse (Self Released)

“Hercules Morse is the narcissistic bodybuilding younger brother of fictional Detective Endeavour Morse, he was lined up for his own book series but there are only so many books one can write about bodybuilding in rural Oxfordshire” Colin Dexter said this once in an interview and clearly this is where the Southampton band got their name from. This of course is a lie however there is a children’s book about an Old English Mastiff of the same name that is ‘as big as a horse' , if this was the inspiration for their name then it’s probably only slightly less weird than my flight of fancy. I’ve had to stretch the review of this record out a little as I could have easily said “sounds like Foo Fighters and QOTSA” which is probably the most honest statement so far, the foursome have taken most of their cues out of the more accessible combined efforts Dave Grohl and Josh Homme, the songs are zippy, musically muscular but rely much too heavily on repetitive choruses that do get a little boring as the album progresses.

Cuckoo is probably the best (worst) example of this with the title work taking up probably 70% of the lyrics. It’s not through laziness I don’t think, Hercules Morse are trying to write sing along anthems such as Monkey Wrench or No One Knows but what makes these songs so good is that they are the exception to the rule for the most part, Hercules Morse’s debut album is an entire record of these radio baiting rockers. I seem overly critical but I’m not, I saw the stoner/desert rock tag and I expected something a little more experimental. This is a little too safe for me. 6/10
Circle Of Silence: The Crimson Throne (Massacre Records)

German band Circle Of Silence return to the metal scene with their first album of heavy power metal since 2013. The Crimson Throne is a solid power metal record it's got the normal intro track to build the drama before Race To The Sky jumps out of your speakers with galloping rhythms and higher register vocals, it's an insight into what Circle Of Silence can do as a band with thick, tasty muscular riffs, a hint of thrash here and there with the solos coming from the speed metal school. It's a record that is competent and full of quality power metal tunes, don't come expecting to have your head blown off however if you're after some decent metal tunes like Into The Fire or Endgame check out The Crimson Throne. 7/10

Petyr: Smolyk (Outer Battery Records)

When you live in California the kind of psych-heavy proto-metal that Petyr play has always been associated with bearded, long hair skater dudes. It's the sort of music that begs for fat joints and half-pipes as the fuzzy rocking vibes pump out of your stereo. Petyr probably have closer links to the skateboarding community than other bands as they fronted by renowned street skater Riley Hawk who is the son of the the legendary Tony Hawk. When he's not shredding up a storm on the streets of Cali he's the frontman of Petyr his voice reverebing over the the stoner rock riffs brought by him and the band.

The echoes of Sabbath and Cali godfathers Earthless are clear to see with the songs full of elongated jams, swirling feedback, shamanic chants and guitar solo freak outs, Smolyk fully encapsulates the Cali skate scene through it's musical expression and a commitment to the stoner rock scene in general. Pair this album with the new offering from The Sword and you'll have the ultimate soundtrack to your next session (be it on the halfpipe or the hash pipe). 7/10 

Reviews: Son Of Kush, Pungent Stench, Skin Deep, Heartwind, Crystal Ball (Reviews By Paul H)

Son Of Kush: Pathfinder (Sky Hammer Records)

One of several musical outlets that involve Thoth Atlantean (others include Sanctum, Atlantis and Thunderhoof), this release under the Son Of Kush moniker is a bludgeoning serving of death and doom metal. Think Amon Amarth meets Arch Enemy and then throw the massive riffs of Candlemass into the mix and you’ll be on the right track. It’s a meaty seven-track release, which will get heads nodding and necks stretching. Thunderous bass and drums combine to envelope the tracks with a thunderclap worthy of Thor’s hammer, although I’m mixing my mythology here as Thoth Atlantean was an immortal Egyptian magician.

Taking all the mythology out of the picture, Pathfinder is a blisteringly good listen, with some stunning guitar work, masses of death growls and sufficient hooks to grab you by the lapels. Stand out tracks are the two lengthier beasts; the dark and brooding Doomed To Stone and the Nicko McBrain drumming style of Eternal Sacred Pyres. I’m not usually a fan of the multi-instrumentalist who churns it all out, but this is one savage beast of a release. 8/10

Pungent Stench: Smut Kingdom (Dissonance Productions)

Confusion reigned as to whether legendary Austrian death metal outfit Pungent Stench were active. Their last release, Ampeauty, arrived over 14 years ago but suddenly the band’s Facebook page, run by vocalist and guitarist El Cochino, sprung into life and Smut Kingdom has now appeared. From what I understand, and I may be wrong, Smut Kingdom may not be a “new” album but rather unreleased recordings from as far back as 2007.

Whatever the case, for fans of the band, who obviously have been out of focus for many years, this is a pleasing release, full of gnarly death metal that made the band such icons. From the first riffs of Aztec Holiday to the grinding pulsing doom of final song Planet Of The Dead, Smut Kingdom should make most death metal fans very happy. 7/10

Skin Deep: New Life (Self Released)

Hailing from the South West of England, Skin Deep is a four-piece hard rock outfit whose sound is based almost on entirely on Metallica, with elements of more melodic rock outfits like Godsmack and even Shinedown thrown in. New Life is a perfectly competent release, with some decent songs but there is little here to spark the interest for any length of time. The chunky riffs will be welcomed by those who like their rock delivered in a straightforward manner.

Listening to New Life I was reminded of fellow South West outfit King Creature, a band that really do possess an excitement that is sadly absent here.  The seven-minute centrepiece Hollow starts well but becomes rather routine by midway, and other tracks, for example Blood On My Hands and Hard To Get are just too close to Hetfield and Co to stimulate. Unfortunately, rather unremarkable. 5/10

Heartwind: Higher And Higher (AOR Heaven)

More melodic rock from the AOR Heaven label. This time it is Swedish outfit Heartwind, which comprises members of Constansia, Token, Essence Of Sorrow and Narnia amongst others. The album is the brainchild of guitarist Goran Engvall and keyboardist Mikael Rosengren who after 15 years of friendship began developing songs in the vein that they wanted to hear. Sourcing their inspiration from some of the classic AOR of the 1980s, Whitesnake and Def Leppard amongst others, they invited numerous guests to help complete the project. What you get is absolute typical melodic rock which would get you burnt at the stake at Bloodstock but would be an absolute success at HRH AOR and the likes.

Every AOR cliché and style is delivered in bombastic style, huge production from Frederick Folkare and mastered by Erik Martensson (Eclipse, WET and Ammunition) ensuring that every song is completely overblown and polished to within an inch of its life. Ballads, such as the awful One Night Away From You are in plentiful supply. It’s about as limp wristed as you would expect, conjuring up images of poodle perms and posturing which belongs on 1988 MTV. Still, if you like your rock weaker than a kitten, you might just find this particularly endearing. 5/10

Crystal Ball: Crystallizer (Massacre Records)

Switzerland: home of dubious bank accounts, cuckoo clocks, Toblerone and world war neutrality. We can add that the home of some really dodgy hard rock and I can add to that pile with this offering from Crystal Ball. This really is a pile of steaming horse shit, and I think that is unfair on the equine output. I should have known when I read that they were initially known as Cherry Pie that I was in for a Warrant sized eye fucking but nothing could quite prepare for the diarrhoea splatter that confronted me. Gentleman’s Agreement, the astonishingly abysmal ballad Let Her Go With Love and the laughable Beauty In The Beast should all be confined to the bowels of hell.

Routinely written, dull as a magnolia painted wall and about as inspiring as a Conservative party broadcast, it was no surprise to find Tony Castell, ex-Krokus involved. The real stinker though is vocalist Steven Magney, whose singing is horrible, an inability to hold a note and blessed with a croak that sounds like Mark Tornillo’s worst bottom burps. This is utterly insipid and the only question I have left is how the fuck has this band persuaded Stefan Kauffmann (ex-Accept) to produce more than one of their releases. Utter drivel and in pole position for the crock of shit award of the year. 1/10

A View From The Back Of The Room: Desertfest 2018 - Friday (Live Review By Paul S)

Desertfest 2018 - Friday, Camden, London

I should start this review with a confession. When I went to Desertfest, I wasn’t aware that I was going to be writing a review of the day. I was asked to review it whilst watching Napalm Death (My bad - Ed). If I’d known I was going to be reviewing Friday at Desertfest, I would have made notes, planned to see as many bands as possible and been aware of who I was watching. So, as doing a proper professional sounding review isn’t really an option, I’m going to try and do a Hunter S Thompson gonzo style review of my day (although without the drug and alcohol fuelled lunacy, bit skint this month) .

My Friday started early with a bus to London. I could only afford a one day ticket to Desertfest (bit skint this month), so I chose the Friday as there were 4 bands I really wanted to see, one of which I considered to be essential. Once I’d got to Camden and turned my ticket into a wrist band, I popped into the Underworld to see Old Man Lizard (7). They played a nice set of relaxed, groovy stoner doom to an appreciative audience. It was a nice start, but I left a little early so I could get over to The Electric Ballroom to see Winterfylleth (one of the 4 bands I was down there to see).

Winterfylleth had had to move their early evening slot to the opening slot, so they could get a ferry to France for another festival. The Electric Ballroom was packed, considering it was 3 O’clock on a Friday afternoon. Winterfylleth (9) played a storming set of their brand of melancholy atmospheric black metal. The setlist was culled from their entire career, but without anything from their new acoustic album The Hallowing Of Heirdom. For obvious reasons they avoided that material as they were doing an electric set, but using one of the tracks as an intro track was a nice move. They played a great set, and seemed genuinely moved that so many people had come out to see them.

Next, I went back to the Underworld to see Black Moth (8). A lot of other people had also had the same idea, and the Underworld was rammed. It was one of those situations where no matter where you stand you are constantly in someones way. The 3 songs I saw were great. Tuneful, melodic doom with great vocals. The audience really enjoyed what I saw of the set, however the heat in the venue, combined with the fact that I hadn’t eaten since I left home combined to make me feel quite lightheaded, so I left to get some air and some food.

After sorting myself out with a Beanburger meal, I had a look at what was going on at The Black Heart. I saw a band playing instrumental stoner doom. I’d love to tell you who they were, but I don’t know. I stayed for about 10 minutes before being driven out by the heat. Whilst cooling down on a flight of steps near the Black Heart, I spent about 30 minutes talking to a Camden resident, who wanted to know what was going on. She described herself as an old punk, so was looking for information, rather than complaining. Had a pleasant break from hot venues, talking about music.

Next I went back to The Electric Ballroom, as the rest of the bands I’d bought the ticket for were playing at that venue. It was lucky that I did that as I managed to catch the second half of Five The Hierophant’s set. Five The Hierophant (8) are a name I’ve been aware of for several years, but have never heard. They played a set of heavy, groovy instrumental doom, where a saxophone took the place of lead vocals (which worked really well). The band were in monks robes, with a video of Fire being played behind them, giving their set a real feeling of a ritual, or religious ceremony. I really enjoyed their set, and am now keen to check out some of their albums. Love discovering new bands at festivals, and Five The Hierophants are a great discovery.

Next up, were Eyehategod (9), another of the 4 bands I was at the festival to see. I was there early, so I got a place right up against the crowd control barriers. By the time Eyehategod exploded onto the stage, The Electric Ballroom was pretty much full, and the audience went nuts. The set was incredibly chaotic and intense. A huge moshpit erupted as soon as the first song started, and I was crushed into the barriers. Unfortunately for me I was next to a check shirt and trucker cap wearing moron, who wanted to occupy my space as well as the space he already had. Once I started to get the urge to elbow him in the throat, I decided to move back and to the side, as I didn’t want to get into a fight with a dickhead (if you allow yourself to be goaded into fight by a dickhead, you have automatically lost). I watched the second half of the set from further back, and really enjoyed it. The band were on form, Mike (who was looking really healthy) had lots of banter with the audience, and they sounded huge. I had such a great time, I bought a T-shirt! (Truly been there and done that then - Ed)

Before Warning (10), this was the band I considered essential, I popped out to the Burger Bar next door for a nice, and considering it was London, quite cheap (bit skint this month) veggie burger. I went straight back in so I could get a spot up the front for Warning and saw their sound check. Warning’s set was their seminal 2006 album Watching From A Distance. The album has been incredibly influential, and is one of my favourite albums. It’s an album that tends to have an effect on people, I’ve never met anyone who thought it was OK, you either love it, or don’t get it. There was a decent number of people in the audience, and the love they had for Warning was palpable. I sang every word of the album back at the band, and I think just most of the other people in the audience did the same.

This is the second to last performance Warning will be doing (one more set at Hellfest, then they are calling it a day), and you could feel that this was something special, in particular Bridges was sublime, not a dry eye in the place. We made so much noise at the end of each song, the band seemed to be taken aback at the reaction they received. No other metal band are loved the way Warning are loved. At the end of their set the crowd stayed in front of the stage, rather than heading off to see other bands (as had happened at the end of all the other bands I saw), we didn’t want it to end, no-one left until the band had all left the stage. Although, Warning's set was beautiful and emotionally charged, although I enjoyed it immensely, I felt like crying as I knew I would never see them live again. The only consolation, is that we still have 40 Watt Sun, and can continue to hear Patrick Walker’s amazing, beautiful songs. I’m so glad I made the effort to see this band, one of the best live sets I have ever seen. 

Next up were the last the band I’d gone down to see; Napalm Death (9). I’ve seen Napalm Death many times before, and I’ve never seen them do a bad set. Friday at Desertfest was no different. They blew the roof off The Electric Ballroom. Savage, blistering grindcore played by a band that are in their element live. Barney was in great form, joking about finding slow songs to fit in with the Desertfest ethos “a little tricky”. Their set was culled from all over their 30 year plus career. Several tracks from their new rarities compilation Coded Smears And More Uncommon Slurs, 3 tracks from their fist album Scum, and even an Anti Cimex cover.

The band had an immense amount of energy, which in turn energised the audience into forming a massive pit. Really loved this set, I think it was the best set I’ve seen Napalm Death play. An absolutely perfect end to the day. After Napalm Death, I caught the tube to Victoria, for my 4 and a half hour bus journey (couldn’t afford the train, bit skint this month) back to Cardiff (the battery on my iPod lasted all the way home as well!). I had a great time at the Friday at Desertfest. Hopefully I’ll get to go for the whole weekend next year.

Reviews: Parkway Drive, Agrona, Mask Of Judas, Trevor's Head

Parkway Drive: Reverence (Epitaph Records)

Having made their mark outside their native Australia with Deep Blue, metalcore mob Parkway Drive have been riding a wave of popularity that saw them reach the crest with their previous record, the victorious Ire. That record cemented them as one of the metal acts of the future skilfully mixing extremity with classic sounding influences and the addition of clean vocals, a first for the band. After this though the band dealt with death, grief and according to vocalist Winston McCall it has made Reverence a more aggressive album than its predecessor. On the immediate thud of tech-metal sounding Wishing Wells you can understand what he means.

Flowing clean lead guitars are hinged on chunky grooves and the breakdown at the end reaffirms their lot as a metalcore band. That is of course until Prey which has a power metal gallop to it sounding a like a fusion of Avatar or Amon Amarth, it’s an arena filler make no mistake and even has Jia O’Connors’ bass high in the mix, which would make Steve Harris proud. From here on out the metalcore is thin on the ground as Parkway Drive have metamorphosed into something wholly more melodic and arena beating.

With religion in the crosshairs throughout Parkway Drive’s sixth record has seen them crawl through the river of shit and come out cleaner on the other side, Absolute Power is a rage fuelled stomp while Cemetery Bloom is the first instance of them breaking away from the anger for more sombre, emotive musical styles although they continue to open fire with I Hope You Rot a track that takes Rob Flynn an co on at their own game. McCall’s vocals on this record are the best he’s done; you can hear the maturity as he can easily take spoken word sermons into throat shredding guttural roars with ease, he’s even got a sick bar or two on Shadow Boxing. I’ve seen there has been quite a bit of negativity towards this record (with one reviewer slating it) personally I love it, it’s the sort of album Parkway Drive have threatened to make since Deep Blue and it cements them as future headliner managing to build on their aggressive metalcore roots but it moves away from them enough to give them wider appeal.

Think of it in the same category of Slipknot’s Vol.3 this will be the record that will take them to the next level, it’s not as instant or euphoric as Ire was but after a few plays Reverence opens up into a record that is the beginning of the next chapter for these Aussie heavy hitters. 9/10

Agrona: Realm Of The Fallen (UKEM Records)

Having finally managed to get my hands on the debut album from Cardiff blackened metal merchants Agrona, released through the UKEM label, guys who know a thing or too about extreme metal. I proceeded to play it multiple times at very high volume and I can truly say that after numerous line up shuffles and honing their (witch)craft on stages across the land the quality of this record is astounding. The finalised line up includes three guitarists, two (sometimes more) vocalists and the now widely expected symphonics making Realm Of The Fallen tour-de-force of epic proportions.

The intro builds the electricity with choirs and chants before the storming The Treacherous Dead starts, it's got furious shredding as you'd expect but the triple guitars of  Aeron, Arawn and Phoenix mean that there's a certain density to the riffs that other bands struggle with, listen to the final part where the track broadens out into a crunchy stomp but with fluid leads behind it. On The Treacherous Dead though, the drumming of Ankou is what hooks you in, the syncopated blast-beats giving way to a deafening bang of a gong to shift the pace.

Speaking of shifting pace Apotheosis proceeds to bludgeon you after the progressive styled opener with just traditional black metal fury, not much orchestration is needed here just a rampaging rhythm section as Ankou and low end beast Kreulon. With a break at the mid-section for the spirits to be beckoned as it ramps up again. The playing is brilliant the rhythms section is as tight as a lifeguards Speedos, the guitar playing alternates between searing flesh stripping shredding, stylish solos and even some acoustic segments. Everything here works in sinful harmony with no part detracting from another, even the vocals of Taranis which are akin to bawling of Abbadon himself are clear enough for you to pick out every cursed syllable.

There's rarely a let up in the abuse Burn is a very progressive number with multiple changes all enveloped by evil, following on from Burn is the groovy rumbling beginning of Storms End which returns to blistering form for the rest of the song bringing a maelstrom of mania as Democratus' Steve Jenkins gives a guest performance. As the album progresses the vocal assault builds with Adara adding spectral shrieks making a re-appearance on the closing vortex of Summoning The Void which is the final clarion cry for these devilish denizens of the darker plains. Released in close proximity to the new Dimmu Borgir record Agrona have drawn from them Behemoth, Mayhem and many of the shining lights in black(end) metal, it's a brilliantly realised debut from a band who have become one of the best on the South Wales scene. Get ready to enter The Realm Of The Fallen, you'll never want to return. 9/10

Mask Of Judas: The Mesmerist (Self Released)

Describe The Mesmerist in one word? Chunky. UK tech-metal act Mask Of Judas are an incredibly heavy technically impressive band where the stars of the show are YouTube guitar star Sam Bell who plays an 8-String guitar meaning that the riffs come with complex shredding that can be likened to Meshuggah and Protest The Hero due to his musical dexterity the songs are chock full of jazz-timings, funk rhythms as well as vicious metal. It's Bell's leads that make this album so damn thrilling to listen to, darting between genres and soundscapes like a Hummingbird in a flower garden, the heaviness comes from the remaining members of the band, Jof Walsh (drums), George Bell (bass) and Reece Fullwood (guitar) who provide the thick, fat grooves for Bell to lay down his stunning leads.

You may think that by talking about the instrumentalism that there aren't any vocals but there are and Jo Challen must have one of the best voices in the business today, she has a strong clean that can even move into operatic highs at points but she has polarity in her voice that means she can howl with the gruffness Angela Gossow could never match in places she could scare the pants of a deathcore singer. The Mesmerist has an almost scientific level of musicianship and vocals that shatter the skull, for those of a tech-metal persuasion it'll have you hardcore dancing in the aisles. 8/10 

Trevor’s Head: Soma Holiday (APF Records)

I don’t know who the titular Trevor is but if Soma Holiday is an indication of what’s going on inside his head then he’ll be having the mother of all migraines. The band the bear his name play fuzz drenched desert punk, the sleazy trio have gone through several changes in their career but since their 2016 release Tricolossus they have been stomping the boards across the UK as a rough and ready three piece that features shouted, rough vocals from all three as they kick out the jams on their respective instruments.

It’s more than your normal guitar/bass/drums though as they add some flute to I Can’t Believe It’s Not Better and tribalist percussion on Departed. Made up of Roger Atkins (guitar), Matt Ainsworth (drums/keys/flute) and Aaron Strachan (bass) this third album by Trevor’s Head is a whirlwind of styles that range from Soundgarden heft on Ghost, to snot nosed punk on Boomeranxiety and Kyuss-like space rock on Welcome (The Unburdened). Critically the vocals will divide any listeners as I did find them to be the weakest part of the record but if stoner garage punk riffs are what you crave then get inside Trevor’s Head. 6/10

A View From The Back Of The Room: Lionize & Planet Of Zeus (Live Review By Paul H)

Lionize and Planet Of Zeus, The Fleece, Bristol

It’s no secret that I am a big fan of the Washington DC outfit Lionize. Their back catalogue reeks of awesomeness, with their 2017 album Nuclear Soul easily the standout release of last year for me. Their set at Bloodstock was another 2017 highlight, with their powerful blend of hard rock, reggae and numerous other musical ingredients hitting all the right notes with me. To make things even better, the tickets for the gig had been provided by frontman Nate Bergman, who had corresponded personally with me after the order of Nuclear Soul had been delayed. The tickets were an unnecessary but superb compensation for a band who take their fan base very seriously.

This tour was billed as a co-headline with Greek stoner rockers Planet Of Zeus, another band who go down very well in these parts and who have bludgeoned their way through Bristol several times before. The bands are obviously rotating the slots and tonight it was Bristol who got Lionize up first. With both bands sticking to their advertised slots to the minute, the Fleece, one of my favourite venues in the entire UK was slowly filling as Lionize (10) kicked off with Face Of Mars, one of several tracks from Nuclear Soul. With Nate in fine form, his sequined leisure suit sparkling from a distance and maybe suffering a little from the collective aroma of the nightly use (certainly for those of us on the barrier a light hum was detected), it was bassist Henry ‘Hank’ Upton who was causing the frowns, his bass and vocals low in the mix for much of the evening, much to his displeasure.

With stand in drummer Tobias Strandvik from Swedish band Kamchatka not missing a beat, Lionize ripped through their allotted hour in breathless style. Chris Brooks’ soul filled keyboards once again underpinning everything the band did. Brooks is one of the real dynamos in the band, his unassuming style in contrast to his frantic finger work and harmonious backing vocals. Once Hank had got a satisfactory sound he moved into the more usual frenetic bass work we’ve come to expect, his dexterity combining with Tobias to cement the sound. But it was hard to take eyes of Nate, his sublime guitar work, fine vocals and all-round enthusiasm making it impossible not to warm to. Shedding his Les Paul for Election Year and Blindness To Danger, he became even more animated, in true Neil Fallon style before ripping it up one last time on the enormous Fire In Athena. Another magnificent show from a truly underrated band.

Following such an impressive set wasn’t going to be easy but Athenians Planet of Zeus (8) didn’t appear to mind one bit as they roared through a thumping loud set which left the ears ringing. The volume appeared to have been cranked up even higher and contributed to a slightly muffled sound. It didn’t stop Planet Of Zeus, who were roared on by a good number of Greeks in the audience. The band’s no-nonsense stoner rock doesn’t resonate as easily with me as their co-headliners but rip-roaring tracks such as Loyal To The Pack certainly sufficient meat filling. Somewhat static on the admittedly smallish stage, the band certainly were the heavier of the two outfits, with the duel guitar work of vocalist Babis Papanikolaou and Stelios Provis adding heft to the proceedings. With their set whizzing past in a blur, all that was left was for me to reflect on a superb evening and to marvel at two bands who are worth every penny, every time.

Reviews: Candlemass, My Indigo, Sons Of Alpha Centauri, Noisepicker (Reviews By Paul H)

Candlemass: Hand Of Doom EP (Napalm Records)

13 minutes of new Candlemass; a mere teaser for the long awaited long player due later in the year. Of course, Hand Of Doom is the soundtrack to the Leif Edling’s new on-line game which takes the player into a world of extreme style heavy metal despair, dread and impending doom. So, just like the world that Candlemass, the godfathers of doom have been delivering for over 30 years then.

Regardless of the game, this four-track release certainly contains everything I want from the Swedes. Colossal frenzied riffs, minor key song writing, dripping with melancholy and heavier than a suitcase full of anvils. Flowers Of Deception edges it for me, the six-minute rollercoaster than thunders along before easing to a demonic bass line that defers to more gigantic riffs. With Mats Levén firmly in the frontman seat, the band are now working in perfect harmony. Hand Of Doom is a monster. Can’t wait for the new album. 9/10

My Indigo: My Indigo (BMG)

Dutch symphonic  metallers Within Temptation take a back seat for a while as lead singer Sharon Den Adel’s debut release takes centre stage. A beautifully crafted album, it’s about as far removed from her usual associated sound as could be. Full of enchanting melodies, deliciously light and gentle vocals and a low-key delivery which works spectacularly well.

Repeated plays allow this stunning 38 minutes to rest and dissolve in total delectation. Hardly a riff in sight or sound, the alt-pop sound is perfect and moves Den Adel to a new level. Tracks such as Black Velvet Sun, with its haunting piano accompaniment drip with emotion. A gorgeously different release. 9/10

Sons Of Alpha Centauri: Continuum (H42 Records)

It’s been a long time since we heard much from Kent based quartet Sons Of Alpha Centauri. Their debut release arrived in 2007, and although the band planned to deliver their sophomore release around 2009, its taken substantially longer before Continuum has finally arrived. Formed in 2001 by Nick Hannon and Marlon King, the alt-rock instrumentalists have not been idle, and this 40-minute epic introspective journey of abrasive and ambient electronic fuelled music is worth the decade or so of wait. Solar Storm contains superb distortion driven guitar work from King, whilst the overall sound has blended heavier elements into a darker reflection than the joint tones of dark and light that pervaded through their debut.

With the same personnel on board, King and Hannon joined once more by Blake on textures and electronica and Stevie B drums, the work is intricate, throwing together a rich tapestry of sounds which cross genres and styles to create a worthy sequel to 2007’s self-titled release, with comparisons inevitably focusing on the progressive giants such as Rush, Floyd and Yes. Produced, engineered and mixed by Aarron Harris of post-metal icons ISIS, Continuum weaves a magical spell. Interstellar, dark and brooding, contrasts with the more upbeat feel of the bass driven Io. I knew little about this band before I heard this release. If you don’t know them, the ambient and introspective interludes which cascade through the release are certainly worth checking out. 8/10

Noisepicker: Peace Off (Exile On Mainstream)

Harry Armstrong has been around the rock world for many years. Many readers will know him best from The Earls of Mars, Jazz-rock lunacy who were always crazy live. Together with undiscovered drummer Kieran Murphy, Armstrong has now delivered a filthy, gnarly blues-soaked debut to follow on from 2017’s Doom/punk/blues EP. Armstrong’s howling, gruff delivery is ably matched by his fuzzy, trusty Fender Stratocaster whilst Murphy hammers seven shades of shit out of his kit. It’ a gritty, raw release, with tracks such as A Taste Of My Dying, opener No Man Lies Blameless and the QOTSA style Burn The Witch all leaving a memorable imprint. No doubt Noisepicker will be on the festival circuit this year. Worth a look. 7/10

Reviews: Thy Catafalque, Voidthrone, Cokegoat/Barren Heir, Suum (Reviews By Paul S)

Thy Catafalque: Geometriam (Season Of Mist)

This is Thy Catafalque’s 8th album. The band, originally from Hungary are now based in Scotland, play a very avant-garde, experimental form of black metal. Although, any black metal orthodoxy was dropped years ago. Thy Catafalque take the same approach to black metal as Sigh, Solafald or Enslaved. Don’t misunderstand me, they don't sound like those other bands, but they approach songwriting in the same way. They are happy to use a myriad of different influences from all around the musical globe and mould them together seamlessly. Apart from the metal on offer here, the main influence seems to be intelligent electronic music. There are some drum & bass influences on display that are very reminiscent of The Omni Trio or early Ronnie Size.

Jazz is also a big part of the sound of this album, with some very interesting saxophone and violin work. The album also moves into some eastern European folk territory. All the different styles of music are handled with aplomb, songs morph from one style to another without any of the transitions feeling jarring or out of place. When this album does get heavy, the riffs are huge and very memorable. But, they aren't overbearing and always compliment the non-metal parts. Most of the time the heavy parts are used to add power and drive to the songs. I loved this album the first time I listened to it. I’ve since discovered that the album is a grower, and am rapidly becoming obsessed with it. Give it a month, and I’ll be forming a religion called ‘Thy Catafalqueism”. If you are an open minded black metal fan with a love of experimental, interesting music, then this could be your new favourite album. Sublime. 9/10

Voidthrone: Kur (Self Released)

Voidthrone formed in 2016, Kur is their second album (on their bandcamp, they refer to this as a full length album, but at 4 tracks and 25 minutes it feels more like an ep). Voidthrone play a particularly nasty form of suffocating black metal. Very ‘Necro’ production helps this album feel viscous and evil. In places it feels a little like DSKNT’s album Phsphr Entropy, one of my top 10 albums from last year. This is not for the faint-hearted, dense, jarring riffs, thundering drums and really nasty vocals. Lots of black metal bands try to sound evil and malicious, Voidthrone actually manage it. Kur is a 25 minute blast that strips the skin from your face, and kicks you in the bollocks while you are trying to find your eyeballs.If you like real black metal, that is extreme, while also being disquieting and foreboding, then this album is for you. 8/10.

Cokegoat / Barren Heir: Split (Self Released)

Split LP from Cokegoat and Barren Heir. The 2 Chicago based bands team up for this split release. Side A features 4 tracks from doom / stoner band Coakgoat. This is powerful mid-paced doom, with a bit of a black metal feel, some of the tracks reminded me of Nidingr, or early Helheim. The tracks are taut and aggressive, but with pleasing melodies to them, and with a few progressive elements, that keep everything interesting.

Barren Heir’s side has 2 longer tracks of slow discordant doom/sludge, which I found to be quite reminiscent of Birmingham band Opium Lord. Slow and oppressive, but with some interesting blues tinged guitar work. The 2 tracks have some faster tremolo picked passages that work well with the slower parts. Both tracks have depth, and are a very rewarding listening experience.

Both bands compliment each other, so this split does not have that jarring feeling that some splits have. This is an enjoyable listen, I look forward to hearing more from these two bands.  7/10

SuuM: Buried Into the Grave (Endless Winter)

Suum are a traditional occult doom band from Italy. Buried into the grave is their first album, and features 7 tracks of detuned, tritone doom. The main frames of reference here are pentagram, and maybe a little Mercyful Fate, particularly in the vocals, which are very dramatic. Do I need to say they sound a like Black Sabbath? No, you’ve probably already worked that out. Great riffs, enjoyable melodies, and fun vocals. There is absolutely nothing groundbreaking about this album. It brings practical nothing new to the table. But, when it’s done this well, do you really need anything new? Solid, enjoyable Doom. 7/10