Reviews: Age Of Taurus, Spiral Skies, Engel, Hidden Intent (Reviews By Paul H)

Age Of Taurus: A Colony Slain (Rise Above Records)

I’d never heard of Age Of Taurus before receiving this album to review. The band was formed in 2009 by vocalist/guitarist Toby Wright, initially as a one-man mission. Inspired by masters of the craft like Candlemass, Trouble and Revelation, the project was intended more as a studio affair rather than something more alive. However, after increasing interest in the band and a succession of glowing reviews of debut demo In the Days Of The Taurean Empire, Wright decided that there was no turning back and duly put together a fully working line up, which comprises Wright, Leo Smee, Bass & Synths, Darius Claydon on drums and Daniel Knight on lead guitar.

The band’s sound sits somewhere between the doom metal of the legends, but with the fantasy elements of the likes of Cirith Ungol and Manilla Road. The NWOBHM flavour is strong within the music, with punishing twin guitar attacks and straight forward heavy metal. At times the production is a bit thin, but there is enough here to enjoy. Tracks such as The Trial Of Blackwynne Chaise and the six-minute To Seal A Mountain have enough weight about them to allow a swift bang of the head and a smile to form on the face. It’s not the most complicated, intricate or nuanced release of this year; but it does give you sufficient metal to sate the most voracious appetite. 7/10

Spiral Skies: Blues For A Dying Planet (AOP Records)

More Swedish 70s rock for you with the debut release from Spiral Skies. Haunting melodies, gothic flavours and dark doom hover over this black mass which draws comparisons with such luminaries as
Jefferson Airplane, Curved Air and The Devil's Blood. Following up on their earlier EP release A Queendom To Come, the band recorded the album at Studio Radioskugga in Stockholm in 2017 and mastered it in Berlin earlier this year. With swirling patterns that bewitch and envelope the listener Blues For A Dying Planet is a neat debut which showcases the superb and evocative voice of Frida Eurenius, whose delivery is at times astonishing. 7/10

Engel: Abandon All Hope (Gain Records)

I knew little of these Swedes before this album arrived. Formed in 2007, the band currently consists of founder members Nicolas Englin and Marcus Sunesson (both guitars), Steve Drennan (bass), vocalist Mikael Sehlin and drummer Oscar Nilsson. This is album number six, but their first since 2014’s Raven Kings. Whilst the band are clearly a hard rock outfit, they have a combination of styles, their nu-metal leanings remain on display whilst their harmonious approach to songs at times gives them an AOR edge. Sehlin’s voice, alongside the thick keyboards on Death Reversed ticks the lightweight box. As the album progressed it’s clear that the band are a very run of the mill, if accomplished outfit and by the time I’d got to the title track, which is hideous by the way, it was time to abandon this and save some of life’s precious minutes. Sorry, it’s all a bit too bland for me. 5/10

Hidden Intent: Fear, Prey, Demise (Self Released)

The sophomore release from Adelaide thrash trio Hidden Intent, Fear, Prey Demise opens with the fast-paced Prey For Your Death, quickly followed by the 100mph Addicted to Thrash. If you haven’t got the idea by know, imagine the combination of Nuclear Assault and Anthrax. It’s as simple as that. Given the links between those two legendary bands, it’s probably no wonder that Hidden Intent has nailed their colours directly to the mast. It’s routine and rather unreconstructed. Chris McEwen’s rampant bass lines are prominent in the same way that Frank Bello thunders all over the Anthrax material whilst the band’s modus operandi is clearly to emulate some of their heroes.

Seeds Of Hate has a real Prong feel, with a groove that you can’t help but enjoy. McEwen also adds lead vocals and he does a decent job. Disappointingly the band don’t really build on some promising openings and it all starts to unravel. Drop Bears Are Real is rubbish and whilst the Metallica sound of Apocalypse Now is fierce, it’s ultimately rather ragged. Some potential but it’s unlikely that Hidden Intent will become much more prominent soon. 5/10

Reviews: Follow The Cipher, Summoner's Circle, The Great Electric Quest, aAnd?

Follow The Cipher: Follow The Cipher (Nuclear Blast)

Coming from Falun (city of Sabaton, Twilight Force & Billion Dollar Babies) Follow The Cipher are the latest in long line of Scandinavian power metal bands that use heavy orchestrations and electronic beats. Guitarist Ken Kängström has had a close friendship with and has co-written for Sabaton, most famously Carolus Rex, which is where the inspiration for Follow The Cipher came about. Carolus Rex is included as a cover here and while not the original it serves a purpose as the basis for Follow The Cipher’s sound, much like Amaranthe the scything Swedish death metal riffs are fused with EDM beats and boops and some symphonic swathes.

While the record musically is good, it’s the vocals of Linda Toni Grahn I struggle with. She’s got an excellent range and a dramatic theatrical delivery, I just can’t seem to get on with them. It’s only on tracks like Starlight where this band impress me as it’s primarily a harsh/clean dynamic that nods to the anthemic Gothenburg sound of In Flames. It might just be personal to me and someone else may love her operatic delivery so I’m not saying to avoid this record, if you like Sabaton or Amaranthe then pick it up but for me it doesn’t do much. 6/10

Summoner's Circle: Tome (Self Released)

Pitched as theatrical, epic doom metal, Knoxville residents Summoner's Circle certainly make a statement with their cloaked, cult-like imagery but it's their music that gets you interested, their live performances are referred to as Summonings and I can imagine they are site to behold if their NSFW videos are anything to go by. Tome their debut full length is over and hour of extreme doom metal that has oppressive organ stabs, lumbering rhythmic fluctuations mixing with classical metal leads and harsh black metal vocals. Using the pseudonyms of Y'takt (bass), BG Scios (drums), Gog (lead guitar), Abasalon (rhythm guitar), Sol (keyboards), Blind (vocals) the members of this band cast mysterious spells that are drawn into long form doom metal anthems, most of the tracks come in at over 8 minutes long and the relentless surge of riff after bowel shaking riffs is only offset by the keys and searing solos. It's not an easy release you have to commit to it due to the duration of the album but it grows on you infecting your soul with it's mythical lyrics (based around the story found here: http://www.summonerscircle.com/bio) and punishing cinematic heaviness. If you like your doom in the style of Electric Wizard or Cathedral but with a wider soundscape added to it then you'd be wise to pick up Tome and kill the old gods! 7/10

The Great Electric Quest: Chapter II (Totem Cat Records)

Firstly this record has an awesome cover, for rock n roll dudes wielding axes on their intergalactic motorcycles, produced by members of Duel and Mos Generator this record has some big, ballsy rock riffs crossing the Rubicon into proper heavy metal. It’s the San Diego space adventurers second album of sonic storytelling and once again thick doom, stoner and proto heavy metal riffs are on offer as the epic fantasy of the albums concept are laid down through the medium of groove-laden music ala The Sword. There are numerous risks taken here, Of Earth I has a freaking drum solo in it which in turn leads into a guitar solo and the 8 minute Of Earth II creating one big progressive stoner epic, although The Madness is driven by the trademark Thin Lizzy sound. This quest seems set to continue for a while yet, Chapter II is a great album of galactic stoner rock. 7/10

aAnd?: Wwoof (Self Released)

We try to be as positive about albums we really do, but I can only describe Wwoof the second album by quirky deathcore band aAnd? as pure dog shit. It's about as exciting as stepping on a plug. 0/10

Reviews: Ryder's Creed, Hatchet, Dorian Sorriaux, Mississippi Bones (Reviews By Paul H)

Ryder’s Creed: Self Titled (Off Yer Rocka)

Winners of the HRH Highway To Hell 2017 competition, Ryder’s Creed is a five-piece from the Midlands who deliver classic hard rock in a style which is guaranteed to wow those who frequent Steelhouse, Rockstock, HRH, Winter’s End, oh, …, you get the picture. What I generally term the Planet Rock crowd. That’s not to say that the band aren’t any good, far from it. They have a bluesy stomp, a mix of Free, Zeppelin and The Black Crowes with a bit of Midlands Sabbath steel underneath. Hard riffs come fast, courtesy of guitar duo Lee Spencer and Myles Cooper, ala the crunch of Monster Truck. It’s well crafted, with tracks such as the anthemic On The Road, the AC/DC riff heavy of Set You Free, guaranteed to get the foot tapping. Of course, like any other classic rock band there is the inevitable Nickelback style ballad and it duly arrives half way through with The Only Thing I’m Good At, which at least features some neat guitar work, even if it is a bit limp wristed.

Things improve immensely with the groove of Ryder, featuring a Molly Hatchet riff and a superb UFO style delivery. It’s a cracker of a song and an instant earworm. The remaining tracks are solid, thumping hard rock very much as you’d expect, but when we get to the appalling Begging For More, which drags the knuckles across the floor and transports everything back to the 1970s with its dreadfully sexist lyrics, you have to question who thought this was a good idea. How to spoil a decent rock album. Bet all the ladies love this one though, with lines such as “Down on your knees, baby, you’re so used to taking it all, slurp it up, as it runs down your chin”. Ryder’s Creed have massive potential but a bit more of a measured approach on the material would probably get you more plaudits. 7/10 (but 0/10 for Begging For More)

Hatchet: Dying To Exist (Combat Records)

The opening minute of this album told me all I needed to know. Its thrash with all the trimmings. Cut off battle jacket, drainpipe jeans and Hi-tops. Get in. Add in the fact that Combat Records is under the wise tutelage of Megadeth’s Dave Ellefson and it all binds nicely. Hatchet is still a young band but already has a wealth of experience and three full length releases behind them, starting with 2008’s debut Awaiting Evil and latterly 2015’s Fear Beyond Lunacy. Dying To Exist amps up the heaviness and is a fresh approach blended with all the old school quality you’d expect.

The duel guitars of Julz Ramos and lead guitarist Clayton Cagle hit hard and fast, whilst the engine room of Devin Reiche’s pummelling bass lines and the battery of drummer Ben Smith make this an album well worth a listen. Ramos has a voice which couldn’t be any more suited to the fast thrashers that the band has created, tracks such as Final Sanctuary and the stomp of Descend Into Madness would incite a pit in the smallest venue, their underlying groove topped off by lacerating riffs and thunderously heavy breakdowns. A band that would be well worth a watch, should they pop up at a festival or at a local venue. 8/10

Dorian Sorriaux: Hungry Ghost (Soulseller Records)

A four-track EP from the immensely talented guitar wizard from Blues Pills, Sorriaux moves far away from the Blues filled soul and raucous psychedelic sound to deliver four acoustic folk tracks. With more than a passing resemblance to Neil Young in vocal delivery, this is a delicate and calming 14 minutes which demonstrates Sorriaux’s subtle guitar work in a separate context to the usual riff wielding approach of a frenetic BP show. Produced by band mate Zach Anderson and recorded at the Blues Pills studio in Sweden, this is a pleasant change from the usual thick power chord abuse. Certainly, worth a listen. 7/10

Mississippi Bones: Radio Free Conspiracy Theory (Self Released)

When Ohio based six-piece focus on the music, this album has smooth undertones of the mighty Clutch and is a fine listen. However, this concept release’s story is based around callers to a radio station, with callers contacting the host as the narrative progresses. It begins humorously enough, but by the third conversation you start to wonder how much music is contained in this album. I’m sure I’m missing the point to a certain extent, as the narrative contains some relevant social commentary, such as Cattle & Chattle, which tackles modified genetic foods, and is necessary for the overall story, before opening into a roaring foot stomper of a tune; Genetic Flashback. However, the constant switching between tracks and the additional radio chatter, despite the story line that develops as the album progresses is tiring and by halfway in I was bored and frustrated with it. It’s a shame because the actual music is superb, with tracks such as Ancient Astronauts and Alien Allegories impressive. 6/10

A View From The Back Of The Room: Blind River (Live Review By Paul H)

Blind River/Nitroville – The Patriot, Crumlin

A rare journey North of the Wall (Well, Newbridge) saw us head to the Patriot Rock Club in Crumlin. The headline act was The Dead Daisies bassist Marco Mendoza touring his solo album Viva La Rock, but for us it was all about the opening act, Blind River, as to be honest, if Mendoza was playing in my garden I’d draw the curtains.

Having not been to The Patriot before, I was highly impressed. The focus of the venue is the home of The Patriot MC, and that is evident from the amount of biker paraphernalia lovingly placed around the walls of the venue. A warm welcome greeted us, from the doorman, through to the bar staff, landlady and every punter that we spoke to. If there is one thing that the Gwent Valleys do well, it’s to make you feel part of the family. The venue itself was spotless, with the toilets stunning in comparison with the Capital City’s premier rock club. In fact, there is a lot that Fuel could learn from this venue, both in terms of layout and use of space. Of course, they are different in purpose and use but it is well worth taking a trip to check the venue out.

So, enough about the trimmings, what about the music. After all, that’s the reason for our trip. Let’s cut straight to the chase. Blind River (10) are a stunning live band. Having independently released their cracking debut album only the week before, this band, who were superb at both Bloodstock 2017 and Hard Rock Hell later the same year, were on a high and the opportunity to have 40 minutes to showcase the new CD was brilliant. Blind River are no slouches in the industry of course, with the band having been around in amongst other, The Earls Of Mars, Pig Iron and Godsized. They possess a swagger and strut about them which is utterly irresistible. Frontman Harry Armstrong, a tremendously nice guy by the way, possesses on of the most impressive voices in rock music today, and he demonstrated it to great effect throughout the set.

Flanked by Chris Charles and Dan Edwards on guitar, and bassist Will Hughes (clad only in his denim shorts – thankfully longer than the Lemmy Daisy Duke style!), Armstrong led the band through most tracks on the album, his humour hitting just the right spot, whilst his gritty, soulful and powerful vocals were immense. Charles and Edwards were infectious, their grinning faces and constant movement a joy to watch as they traded licks and riffs with abandon. At the rear of the stage, man mountain Andrew Esson really does leather the drumkit, but kept it tight with Hughes to allow the band to motor forward. It really was joy to watch a band, who were clearly having a great time, elicit such a strong reaction from the packed room. By the time we got to the fabulous Can’t Sleep Sober, the room was hot, sweaty and cheering for more. If you only do two more things this year, check out their debut album and do your best to catch them in the live arena. You won’t regret it.

Following such a strong opening act was going to be difficult but London based Nitroville (7) gave it a good go. Having lent their backline to Blind River earns them an extra point, and in Tola Lamont they possess a lady who has a fantastic voice. The band kicked off their set with gusto, Lamont holding the attention with her headwear and vocal pitch which hit all the right notes. However, the band were a little static in comparison to Blind River and it showed as there were more punters outside the venue than watching the band. Their blend of hard rock was perfectly suited although they sound better on record. There is much potential in this band, who are shortly to release their third album, and I would see them again without hesitation. However, on the night, they were unable to reach the heights of what preceded them.

Reviews: Matterhorn, Nomad, Secret Society, Scimitar

Matterhorn: Crimes Of Man (Self Released)

Hailing from the "crime capital of Australia" Adelaide Matterhorn are an unadulterated, unashamed heavy metal band. Starting their life a s covers act with repertoire for Ozzy, Dio, Diamond Head et al, Crimes Of Man is their debut full length and features 13 tracks of their own compositions that maintains that traditional metal sound. As they state themselves there are "no breakdowns or prog weirdness" this record is just proper metal riffs from from the first seconds. Brendan 'Oz" Ozolin (guitar) has the rhythm/lead balance just right never being flashy enough to stop a great groove, like Wylde and Campbell though the rhythm section of Steve "Ghostrider" Opitz (bass) and Jaryd Dorey (drums) give bones to the meaty six strings.

Sliding between some fist pumping rockers and frenetic heavy metal madness Crimes Of Man doesn't reinvent the wheel but gives you meat and two veg head banging metal, similar to US band Hydrogyn and or Warlock in their heyday, as Amanda Ozolins gives a gritty vocal performance snarling, purring and beating her chest with more machismo than many of her male counterparts. Judge Nought is a slightly proggy opening salvo but nevermind it's also a strong intro, while Guest Of Her Majesty is Ozzy-styled rocker that deals with the the sordid history between the UK and Australia. If I were to have one criticism it's that it's a little long, trimmed to 9 or 10 tracks Crimes Of Man would be a leaner meaner record for it, however it's another quality release from the Aussies a country where the metal/rock scene is more diverse than ever. 7/10

Nomad: Feral (APF Records)

Straight off the dirty streets of Manchester better known for the Gallagher Brothers, Nomad are no Champange Supernovas, they are much more whiskey straight in a filthy glass. With a sound influenced by the darker quarters of the NOLA scene Nomad bring the aggression of Crowbar and Eyehategod with a sludgy wall of riffs, scarred vocals and big earth flattening grooves. Nomad's mission is to send you on a bad trip and through seven ear-bending slabs of brutality they achieve this goal like a pack of wolves attacking without warning or remorse. At times Feral is oppressive at points, from the slow, deliberate beatdown of Curse Of The Sun, the fuzzy stomp of Swarm, a mostly instrumental thud The War Is Never Over to the 'classic' stoner riffage of the title track and Culture Of Ruin, Feral creates a woozy and threatening atmosphere and if you were to have a bad trip (not that we encourage drug taking here at MoM) I'd expect the soundtrack would be something like this. 7/10

Secret Society: Induction (Self Released)

Swedish power metal act Secret Society have been writing this record for over a year and they've managed to bring along some special guests on the record  with vocals provided by Rick Altzi (At Vance), Troy Norr (Coldsteel), AOR crooner Paul Sabu and Metal Church singer Ronny Munroe, with Broken Crutch the heaviest offering on the record featuring Munroe roaring like he did on A Light On The Dark. Unfortunately the rest of the album isn't that great, it plods a little too much  even at five tracks, I would have loved to hear more of Munroe and Altzi. Not great but not totally crap. 5/10

Scimitar: ...Of Blood & Fire (Self Released)

Born out of the fires of Belfast Scimitar are a blackend thrash metal band and this three track EP is their third EP following on from their 2017 full length. Despite the grainy production this album is pretty good showing you what this Irish four piece can do, it's thrash in the darker, dirtier variety summoning the aggression of Vader, Sodom and Exodus on Witching Hour adding some speed metal melody to Firebourne. Scimitar are Jonny Gray who shouts, Chriz Baird on bass (distinctly low in the mix as is traditional), Ryan Atkin pummelling the skins drums and John Thompson shredding like the weapon they take their name from. Of Blood & Fire is a neatly packed ball of thrash and extreme metal sounds played by a shit hot band. Look out for Scimitar as they'll be slicing up a stage near you soon. 7/10

Reviews: Five Finger Death Punch, Sevendust, My Brother, The Wolf, Meliah Rage (Reviews By Paul H)

Five Finger Death Punch: And Justice For None (Eleven Seven Music)

FFDP return with album number seven, three years since previous release Got The Six in 2015. A band that polarises opinions, I’m very much of the opinion that this band is overrated and shamelessly promoted by the rock media, such as Metal Hammer. After 2017’s shenanigans on stage with vocalist Ivan Moody stating he was quitting the band, walking off on stage and generally behaving like a right diva, it’s something of a surprise to see that the band has churned out another lengthy 16 track release, which clocks in at just under an hour. Musically, the album follows the pattern that the band appears to have produced on virtually every release. Polished, snarling heavy groove metal with the rap style of Moody supporting the aggressive riffs and patterns which are repeated throughout.

With the usual lyrical style following the pressures of being on the road (Sham Pain), the burning anger towards artificial know-alls (Fake) and self-reflection (Stuck In My Ways), it’s unremarkable. The usual calming ballads are literally distributed through the album, such as When The Seasons Change and Gone Away, the latter already getting airplay on Planet Rock and likely to give the band exposure to a new audience in much the same way that Disturbed obtained attention with Sound Of Silence last year. And Justice For None is competently put together, it just sounds like FFDP again. Big, brash, suited for arena rock and not particularly exciting. If you like the band then this will undoubtedly get you excited. If not, then you are permitted to stifle that yawn. 6/10

Sevendust: All I See Is War (Rise Records)

Sevendust are one of the early nu-metal bands that seem to have been around forever. In fact, the band has indeed put in a shift. Formed in 1994 they are now well into their third decade together. With the band holding a steady and generally constant line-up, only lead guitarist Clint Lowery has left and he’s been back in the fold for the past ten years, the band’s polished sound continues to be honed and refined. All I See Is War is the band’s 12th album, an impressive total. I admit my knowledge of the band is limited to the time when their music was used as intro themes for WWE so All I See Is War is probably the first album I’ve heard from the band since about 2004.

Sevendust play big, chunky rifffs with undeniable melody which is not unpleasant on the ear. Whilst their sound is probably a bit too polished for me, with an arena sound that fuses Shinedown with FFDP, the odd monster tune still emerges. Opener Dirty is bombastic and screams “set opener” with thundering drums, big noise and Lajon Witherspoon’s clean and instantly recognisable vocals up front. Medicated slows the pace, whilst Sickness gets the emotional treatment, enhanced by the harmonies on backing vocals. Vinnie Hornsby and Morgan Rose have played together for 24 years and hold the Sevendust sound locked in place throughout the album. There are a few turkeys tucked away mind with the mandatory ballad Not Original particularly ghastly. However, overall, the guys from Atlanta have delivered a solid if unspectacular release. 7/10

My Brother, The Wolf: Self Titled (855279 Records DK)

Five-piece groove thrash outfit My Brother, The Wolf’s current release hit the airwaves a couple of weeks ago and it’s worth investing a bit of time in. Huge, thrashy riffs dominate their sound, a combination of Lamb Of God, Gojira with an undercurrent of the sludgy Baroness thickness. Joel Bruno’s vocals are harsh, guttural and unnatural at times, the kind of sound I’d expect to make if I was choking on my own blood to be honest. It is savage from the opening strains of Last Chance Of Respite, something you don’t get until the final bars of Hold Your Horses has concluded. With a groove that is ferociously addictive, courtesy of Pete Jorkowski and Dan Wynne Jones’ vicious axe work, there’s little to dislike here, although the choruses on Savages doesn’t work at all with the metalcore harmonies disjointed. Overall, this is a brutally impressive release, with The Breaking Wheel and the thundering Burn The Witch particularly noteworthy, the latter’s thunderous rhythm infectious. Staffordshire has a good number of bands emerging and My Brother, The Wolf are a worthy addition. 8/10

Meliah Rage: Idol Hands (Metal On Metal Records)

Boston based Power thrash outfit Meliah Rage have been treading the boards since the mid-1980s. Their debut Kill To Survive was released in 1987 but like many of the bands at that time, they were rather overlooked in the rush to pick up on the thrash explosion which saw the likes of Anthrax, Testament and Megadeth follow in Metallica and Slayer’s path. For every Overkill, there are probably 100 Meliah Rage’s out there. However, with a core nucleus maintaining stability, Meliah Rage has maintained its own route, and their ninth full release, Idol Hands is a solid if unspectacular release. Like many thrash bands, influences always come through in the music, and when you listen to the Metallica sounding title track or Crushed Beneath My Heel, it’s impossible not to make the comparison with Hetfield and co and I’m even reminded of Aussie thrashers 4Arm who managed to capture the same style to great effect in their early years. 

Founder member Anthony Nicholls’ alongside other stalwarts Jim Koury (guitar) and drummer Stuart Dowie combine with Darren Lourie (bass) and retuning vocalist Paul Souza. Sentenced To Life is a bit less of a rage, with Souza allowed the opportunity to add some honest clean vocals whilst the frenetic pace allows the band to let loose at full speed. There is some superb guitar work on this album, which also taps into the majestic style of Metal Church and Megadeth amongst others. Whilst it won’t make the top 10 this year, Idol Hands is a strong release which becomes more enjoyable as it progresses. 7/10

A View From The Back Of The Room: Metal 2 The Masses Semi Final 2 (Live Review By Paul H)

Metal to The Masses Semi-Final 2. Fuel Rock Club, Cardiff

A much tighter one to call at the second South Wales Semi Final than the previous week with some stellar performances demonstrating once again that the scene here is very much alive and kicking.

It was probably warmer than the previous week's event inside the venue, something I didn’t think possible and openers And The Sky Darkened (7) stoked the temperature even higher with an excellent set. The Cardiff outfit play a sweeter style than many, using melodies and calmer passages to great effect. Large, thick riffs and crashing drums were present in abundance though, and a vociferous crowd spurred the band on. Musically tight, the band's Achilles heel is the slightly weak vocals of Ryan Lewis, whose struggle to really go for the kill with sufficient power at times prevented their strong compositions really taking off. A powerful start though, and the bar was set high.

Democratus (9) need little introduction. The band is one of the most hard-working outfits in the area, and from their opening bars it was clear how much the evening meant to the band. With guitarist Joey Watkins heroically taking the pain barrier and telling it to do one, Democratus ramped up the tempo to a level I and others around me had not seen before. This really was their best performance and the audience reacted accordingly. Steve Jenkins was more animated than the entire Womanby Street response to the giant rat that was spotted casually roaming in amongst the punters earlier in the evening, his vocals (that’s Steve, not the rat – more of an Emo scream from the rodent), soaring high and his death growls more guttural. Bassist Spoon threw everything, guitarist Kerrin Beckwith chucked out solo after solo but it was drummer Zac Kane who stole the show with his superb efforts. Despite the world’s biggest party popper failing, Democratus hit the very spot.

As if that wasn’t enough, proceedings took a turn heavier as brutality reared its ugly head in the shape of death metal trio Cranial Separation (7) whose old school style took the place apart and sent the faint of heart scurrying to the bar. Ray Packer’s unintelligible vocals mixed perfectly with the bludgeoning bass of Chris Machin and drummer Sam Heffernan’s incredible thunder from behind the kit. Packer’s guitar work was aided by a clear mix and CS stormed through their set with the usual South Walian chaos between songs. “Yeah man”. A solid ovation indicated the challenge ahead for the judges.

Described as Fantasy Djent, what Hereford’s Enmerkar (6) lacked in crowd numbers, they made up for in effort. Vocalist and Londoner Rob Shinobi Kemp is a ball of energy, cajoling and whirling on and off the stage, his vocals a hybrid mix of death growls, rapping and clean lines which are typical of the genre. I admit from the start, Djent isn’t one of my favoured genres, but Enmerkar pushed hard and despite fewer numbers, elicited a roar of approval from those punters still sweating it out in the room. A tough call as the performances were of a much higher quality than the previous week.

Bristol based Mortishead (6) have obtained a slot at this year’s Bloodstock on the Sophie Stage which is well deserved. On the night, I’m not sure that their industrial tinged extreme metal was what I needed but their groove and relentless on-stage aggression and performance was well received. The bizarre sight of vocalist Luke in full suit, keys and samples player Nick Luxa-Richards clad in full face mask and boiler suit rampaging across the stage alongside the rest of the band was interesting to say the least. I think I’d need to see them on a wider stage to get the full effect but certainly nothing wrong with these guys overall.

And so, the judges spoke and in a close-run call it was congratulations to Democratus and Cranial Separation who tipped the scales, gaining the final two places in what should be an intriguing and intense final on 16th June. On another night, And The Sky Darkened would certainly have made it through; tough draw and with Democratus on fire, it will be interesting to see how they slug it out with Cranial Separation, Incursion and Blind Divide for the top prize.

As a footnote, it should be noted that in both semi-finals, the voting system has been marred by fans of opening bands completing their slips way too early. This is a showcase of the best of South Wales talent; not a popularity contest and the respect and support that should be taken for granted for the other competitors is sometimes lacking. If you can’t get that message to your fans, then maybe you need to rethink why you are in this competition in the first place. It’s been noted and certainly isn’t impressive.

Reviews: Alien Weaponry, Witchskull, Marc Rizzo, Shotgun Rebellion, Moon Gypsy (Reviews By Paul H)

Alien Weaponry: Tū (Napalm Records)

Fuck me! I’d heard the rumours about this New Zealand three-piece, but I wasn’t quite prepared for the onslaught that hit me when I first hit play on their debut album. To be honest, how often do you even consider New Zealand, outside of the annual crushing of the Welsh Rugby team? A little background is necessary. Alien Weaponry consists brothers Henry (drums) and Lews De Jong (guitar and vocals) and bassist Ethan Trembath. Their name is drawn from the District 9 film. The band was formed in 2010. Okay, let’s pause there. 2010. When the brothers were ten and eight respectively. Holy shit. That makes them an ancient 18 and 16 now! So, having formed and won competitions, the band was successful in obtaining New Zealand On Air Funding for their first three singles and then released The Zego Sessions EP in 2014.

Tū is their first full-length release and it's an angry, stomping, thrashy bastard of an album. Full of old school thrash metal influences, sung partly in Maori, which enhances the burning rage within the band, and with a lyrical content that focuses on injustices and outrages against the indigenous peoples as well as social commentary on the wider political world, this is an album that is stunning in terms of its energy, freshness and overall complexity. Tracks such as Rū Ana Te Whenua, Kai Tangata and their first single Urutta belie both the band’s age and their three-piece status. A huge sound enhances the album, which is ferociously heavy and has echoes of Gojira about it in parts. No bad thing. Alien Weaponry play Wacken and Bloodstock this year. I for one will not miss them. 8/10

Witchskull: Coven’s Will (Rise Above Records)

A wall of sound hits you as soon as Coven’s Will opens. It doesn’t let up for the next 35 minutes as the blend of Sabbath soaked doom and Witchtripper/Orange Goblin style biker rock of Canberra’s Witchskull penetrates your soul. There are many doom bands plying their trade, with varying degrees of effectiveness. Witchskull has taken the essence of the 1970s and melded it into a faster, thrashier and heavier sound which gets the seal of approval from me. It’s not classic in the sense of Trouble or Candlemass, but the intensity and the power drive it into the upper levels in terms of quality.

Smashing drums, ample crashing symbols, raging guitars and sludgy, fuzzy riffs and Marcus De Pasquale’s wailing vocals on tracks like Priestess and Spyres captivate and enchant. There is an intensity and drive rarely seen with doom bands on this album, a heaviness that crushes without smothering and and an overall quality that makes Witchskull tower majestically above many of the same genre. These Australians, Tony McMahon on bass and Joel Green on drums alongside De Pasquale (guitar and Vocals), have released a grand debut which demands your attention. 8/10

Marc Rizzo: Rotation (Combat/SPV)

It’s almost inconceivable that you won’t have head of Marc Rizzo. Originally a member of Il Nino, Rizzo is the shredder who has spent most of his musical career as Max Cavalera’s right hand man. Rizzo has laid down the riffs for Soulfly since 2004, which means Prophecy, Dark Ages, Omen, Archangel, Conquer and Savages all bear his hallmark sound, as well as the four Cavalera Conspiracy releases, most recently 2017’s notable Psychosis. Rotation is Rizzo’s fourth solo release, his first since 2010’s Legionnaire and it is a stunning piece of work. Heavy on the Latin flavour, there are changes at every turn, with the low-end riffs and thrash intensive leads that Rizzo is synonymous with all present. Coursing with melody, Rotation contains gems such as Jungle Jam Slam, a vicious and intense six-and-a-half-minute composition which has a huge Latin feel. Thrash Boogie is just that whilst the technicality in Downside Up is astonishing. Rizzo is a superb and underrated guitarist. If you like to hear astonishingly heavy instrumentals, then Rotation should be on your list of purchases. 9/10

Shotgun Rebellion: Outlaw Rock N Roll (Twelve Gauge Records)

Formed in the southeast Oklahoma town of Ada, Shotgun Rebellion is Rick Davis (vocals / guitar), Randy Johns (bass), Steve Parnell (guitar) and Johni Walker (drums) who provide a quality release dripping with Southern heavy rock music with an outlaw country whiskey kick. This album is, as their press aptly captures it, ‘Pure Rock and Pure southern to the bone’. I can’t argue with that. It bleeds Southern tradition. Outlaw Rock N Roll is a burning cauldron of roaring rock which has the heady combination of classic southern rock icons such as Lynyrd Skynyrd, The Allman Brothers, country legends Johnny Cash, Hank Williams Jr., and David Allen Coe, blues master Robin Trower and the hard rock and metal of The Black Crowes, Black Label Society NOLA bands Down and Corrosion Of Conformity as well as the heavier riff laden masters Pantera, Sabbath and Zeppelin.

Shotgun Rebellion mixes these influences brilliantly, pulling out a sound that crosses many genres and is genuinely infectious. The lyrical roots and ideals sit heavily with outlaw country, whilst the underlying groove of Southern rock is the groove and feel of southern rock is scattered with the intensity of metal. The bombastic swagger on Outlaw Rock N Roll immediately draws comparisons with Hogjaw and the brilliant Texas Hippie Coalition, one of many bands that Shotgun Rebellion has opened for over the past few years. Highlights are many, and include the BLS rage of Devil’s Daughter, the chug of Addiction Road, the anthemic Won’t Back Down and the Black Oak Arkansas feel of Just As Good A Day. Whilst I’m pretty sure the band’s political views are way different to me, especially when it comes to guns, their music connects perfectly. This is an album that you need to hear. 9/10

Moon Gypsy: Numbskull (Self Released)

Under 30 minutes, Numbskull is eight tracks of stoner and psychedelic rock from this outfit who hail from Charleston, USA. It certainly is a retro affair with each track retaining a 70s feel, albeit with darker riffs that envelope the listener, transporting you into a vortex of spinning doom. Certainly not something for a hot sunny day, Numbskull will appeal to those who like their rock painted black and full of fuzzy distortion. 7/10

A View From The Back of The Room: Britrock Must Be Destroyed! (Live Review By Dean)

Britrock Must Be Destroyed tour (Reef, The Wildhearts, Terrorvision & Dodgy) – Motion, Bristol

Life is full of little moments of joy: Breaking the seal on a new jar of coffee, waking up after a heavy night with no semblance of a hangover and knowing every word to the first song you hear each day being three perfect examples. But imagine if a gig existed where you knew every word, of every song, by every band. Imagine the joy that would bring!

Well it happened ladies and gentlemen, as the Britrock Must Be Destroyed tour rolled into sunny Bristol to blast our faces into submission with a smorgasbord of bouncy, spiky, bluesy and, well, Dodgy music from all of our pasts, with a smidgen of current thrown in for good measure. Suffice to say a lot of joy was had.

Starting up at the unearthly hour of 5.30pm we had Dodgy (7) playing as token support for the evening (the other three bands were on co-headlining duties, with running order varying from show-to-show). Ignoring the debate as to whether Dodgy “count” as a Britrock band the band simply took to the stage with minimal fuss and began blasting through You Give Drugs A Bad Name from their most recent album What Are We Fighting For (I know, starting a retro gig with a new-ish tune: Those bastards!) and proceeded to bash through a further six tunes, including the essential Staying Out For The Summer and Good Enough with ease, confidence and a strong delivery, to give the consummate example of how to impress a crowd as a support band: No nonsense, solid tunes and a general good feeling of being there.

Well played Dodgy, well played. During the changeover it was noticeable that Nigel Clark (lead singer of Dodgy) found his way up to the Motion Balcony where he spent the entire rest of the gig, watching and listening to all other bands on the bill like a hawk. You can tell when a songwriter still has passion in their belly to keep getting better as they continue to study the craft of others to make themselves better.

Speaking of songwriting: Terrorvision (9) rocked up to the stage next and they may as well have been carrying streamers, air-horns, blowers and cake with them, as they were bringing the party and nobody was going to stop them. Blasting straight into Discotheque Wreck and without a breath transitioning into Friends And Family, the two choruses of “I’m a moving, I’m a grooving, I’m a smooching, and he’s a discotheque wreck” and “Party over here, fuck you over there” the room very quickly went from an early evening with some cans, into a writhing pit of bouncing bodies, and the clock has only just struck 6.30pm. It’s clear this is going to be a night for the ages.

Frontman Tony Wright has more energy than any human being ever, he’s here to party and he really, really does not give a damn what anybody thinks of this. He pogos through Alice What’s The Matter, throws shapes through If I Was You, does the whales and dolphins dance throughout Perseverance, sardonically gestures throughout Josephine and means every damn word when he screams through D’Ya Wanna Go Faster. He’s a rock star, pure and simple, and tonight he reminds everyone of it. The set is rounded off with Pretend Best Friend and Oblivion which puts a wonderful cap on an excellent hour of raw, party-rock. The crowd retires to the bar to re-fuel, all safe in the knowledge that they would indeed grab a tent and join Terrorvision in any back garden.

It must be an interesting experience waking up each morning for Ginger Wildheart. Knowing full well that you’ve captured musical lightning in a bottle thousands upon thousands of times, all of which are out there, available to the public yet generation-after-generation have overlooked such musical craftsmanship and opted to pick virtually every other genre of music as the flavour of the month, rather than your creations. It’s no wonder one of the UK’s most prolific songwriters of all time has suffered with mental health issues in recent years.

Nevertheless, rolling around to 8pm and the Wildhearts (9) take to the stage. This is a band who by all accounts shouldn’t even be alive, let alone touring, with Danny’s health problems and Ginger’s well documented battles with his demons over the years, yet the Wildhearts seemingly cannot be stopped and the juggernaut rolls on, and their dedicated fanbase continues to show up in droves ready to worship at the church of rock n roll.

Tonight it’s a sermon to remember, as the aforementioned bottles filled with lightning are opened in quick succession, and it seems everybody in the building is a conductor tonight, as the electricity soon rises to 1.21 gigawatts and an already animated crowd pretty much reaches full charge as Sick Of Drugs rolls into TV Tan leading to My Baby Is A Headfuck which (as with on their debut album Earth Vs The Wildhearts) flows into Suckerpunch and, just to really get everything to fever pitch, Caffeine Bomb quickly follows. We’re 15 minutes and 5 songs deep, with virtually zero stage banter, and everything played at breakneck speed, it’s apparent this is going to be the ultimate no-bullshit show for the ages. The Wildhearts are on a mission.

A quick break to introduce the band (CJ: guitars and Pork Pie hat, Ritch: drums and hangover and Danny: bass and all the chants ever) and we’re off again. Vanilla Radio, Everlone, Nita Nitro and Weekend (5 Long Days) tear by without a member of the audience forgetting a single word, Geordie In Wonderland” features the biggest sing-along of the night, Love U ‘Til I Don’t and Greetings From Shitsville batter the eardrums and it becomes apparent: We’re having a bit of a moment here where the fans and the band are in perfect unison, appreciating every moment and having a bloody great time. We’ve reached rock n roll Nirvana folks. The set closes with 29x The Pain (surely the most adored b-side in history) and the obligatory pogo-along to I Wanna Go Where The People Go to rapturous applause and everyone heads for oxygen and the bar. Magnificent.

Reef (9) were always going to be the odd-one-out on this tour, as whilst Terrorvision are the kings of the party, and the Wildhearts are the party, Reef are the point where blues meets Britrock, where mellow meets rock, and they were always going to have to prove themselves doubly hard to those whom are in attendance for their touring partners. They achieve this and then some, showing exactly why they’re the band touting new material (and a new lease of life) via their excellent new record Revelation on this tour.

Firstly, Gary Stringer’s voice is incredible these days. With time it has somehow gathered more gusto than ever, with a soaring power and tone that most vocalists don’t maintain as time goes on. The rest of the band are tight where they need to be, loose where it counts, and new guitarist Jesse is an absolute demon on the strings. Reef are in their glory days, they’re better than ever.

The set opens with old-school favourites Naked, I Would Have Left You and Stone For Your Love, all delivered effortlessly but with a power unexpected by most. But even more surprising was what came next as Gary was joined by one of the backing singers to duet on recent single My Sweet Love (Sheryl Crow takes vocal duties on the album). The song starts, the chorus hit and……. holy crap, my goosebumps got goosebumps. The harmonies are perfect, the musicianship is immaculate and the crowd are loving every goddamned minute of it. A truly special musical moment, during a retro tour, for a new song. Go figure.

The band keep it low-key with Consideration before upping tempo into Revelation’s How I Got Over (a gospel rock n roll tune with a beast of a hook), Don’t You Like It and the mid-set appearance of Place Your Hands. So confident are Reef that they’re going to keep this crowd they drop their biggest hit eight songs in. Swagger, but a cool swagger.

It’s worth noting at this point that not one of the Wildhearts/Terrorvision fan club have left. The venue still remains packed to the rafters as Reef continue to deliver a captivating, musically perfect show. New single Precious Metal brings a true Bon Scott-esque rock n roll swagger, title track Revelation itself teaches the whole audience all the words in a matter of minutes. Yer Old and End fittingly close the set before the obligatory encore of I’ve Got Something To Say, and indeed Reef do, Reef have a lot to say at the moment, and they’re more relevant, captivating and enjoyable than ever.

The evening ends just shy of 11pm, a sea of very, very happy faces flow out of Motion. A truly special night.

Reviews: Ghost, Spock's Beard, Dopethrone, Motorjesus

Ghost: Prequelle (Loma Vista/Spinefarm)

Papa Emeritus is dead...I know this tends to be how we start a review of nearly all Ghost albums but as III became a vaudeville false prophet he was killed by Papa Nihil the older wiser eviler(?) head of Ghost’s Satanic church. In his place the young Cardinal Copia has been called up to spread the message along with some new Nameless Ghouls (who for the protection of the innocent shall remain Nameless), hungry to prove himself but under Papa Nihil’s control Prequelle (and the subsequent tour) is a way for him to prove himself and perhaps become Papa IV. Yes its Ghost folks they’re back and as gloriously entertaining and mysterious as ever, with this ‘new’ frontman at the helm I wondered what Prequelle was going to do, would it go back to the 70’s rock of Opus Eponymous or stick with the pop-inflected sound of Popestar?

The truth is the 80's are here in a big way as the funky sax laced instrumental Miasma (that has some Beat It styled guitar) splits the album between chuggy classic metal and bouncy filthy pop. The theme surrounding the album is death and doom with the Medieval period given the bulk of the treatment. Just take the two singles the plague anthem Rats is a Maiden gallop with a ripping solo and genuine sense of malice while Dance Macabre is a thumping apocalyptic disco song and Eurovision anthem in the making (surely Ghost have to enter at some point?) It’s the fine line between drama and farce but done so well it doesn’t matter. Faith and Witch Image keep up the rocking but as is tradition now there is a rock ballad in the form of the 80's-tastic See The Light a de-facto sequelle(sic) to He Is with the Ghost speciality of making yearning love ballads the sound innocent enough but have a delicious leather underbelly of deviance.

Pro Memoria is the most overtly Satanic song on the record referring to Lucifer by name, it's an epic with harmony leads and grand piano. Things get folky with second instrumental Helvetesfönster a song that utilizes a harpsichord and segues into the finale of the beautiful choral Life Eternal, it’s pure pop-metal of the highest order that demands replays as soon as the album ends, whatever you think of the kitschy visual this band portray musically they are incredibly talented and have managed to win over even the most hardened metal head cynics with their flagrant disregard for being hip or trendy, yet somehow they have found themselves as the ‘it’ band of the moment.

 If I were to say anything pick up the special edition which features a thumping version of The Pet Shop Boys' It’s A Sin which benefits from a metalization and the spectral vocals, while Leonard Cohen’s Avalanche is dramatic and puts a heavy rock sound to Cohen’s horrific tale of love, and lust. Pop-metal mastery, occult theatrics and out of the ordinary covers, check on all three this is Ghost’s modus operandi and it’s brilliant. 9/10

Spock’s Beard: Noise Floor (InsideOut)

Spock’s Beard are a band that have carried the banner for classic progressive rock music for over 20 years now. The Los Angeles band formed in 1992 with a sound that had all been wiped out by sleaze and grunge, especially in L.A where the Sunset Strip was the main place for music at that time. Brothers Neal and Alan Morse though looked back in time and across the pond for their musical inspiration, they style Spock’s Beard as band carrying on the legacy of Yes, Genesis and Gentle Giant with pop sensibilities strewn throughout their progressive rock music, their musical direction has remained pretty similar since their debut record in 1994.

As with all good prog bands the membership has changed, they even did the drummer-becomes-singer switch, but the band continues regardless, their use of intricate, multi-part vocal harmonies and counterpoint vocals a calling card that has also continued to this day. So to the present day Noise Floor is Spock’s Beard thirteenth album and their third with Enchant’s Ted Leonard behind the mic, it also marks the second album featuring original drummer (and previous SB vocalist) Nick D'Virgilio who away from the frontman role is solely here to be a drummer and part of the backing vocal harmonies.

Noise Floor hasn’t broken any barriers in terms of experimentation, we aren’t going to get a SB death metal album any time soon but it’s yet another record of mellifluous keyboard heavy (Ryo Okumoto) progressive rock with Alan Morse's emotive guitar lines still the beating heart of the complex soundscapes of this record, taking a track such as Somebody's Home which has lilting classical guitars, lush orchestrations and Yes-isms galore that continue on the folky Have We All Gone Crazy which segues into a jazz odyssey in the middle eight. Noise Floor is another superior example
of Spock's Beard's longevity, not unlucky at all album number 13 makes a lovely racket. 8/10

Motorjesus: Race To Resurrection (Drakkar Entertainment)

Shifting gears (sorry not sorry) to Motorjesus, the German band that marry religion and racing, not because they're a Christian band, they like the iconography and I mean they are called Motorjesus which is less Son Of God more Sons Of Nazareth. Smashing down your stereo Tales From The Wrecking Ball kicks off what is their fifth album in fine style, thick riffage, vocals worn by whiskey and a melodic sing along chorus, although not as catchy as King Collider a song that will be sung ad nauseum by drunken fans all over the world. Race To Resurrection reminds me so much of the leather clad biker rocking of Mustasch, Black Spiders, Volbeat and Black Label Society but also the modern American rock of Alter Bridge et al.

As soon as you hit play the nitrous kicks in and the record pulls 0-60 in less than 2 seconds, there's no let up as they plow riff after riff but throw in monstrous catchy hook lines that will help them secure a wider audience. Personally I can't believe I've only just heard of them, I may have to do some digging as Race To Resurrection has certainly been a surprise hit for me with a mix of groove driven hard rock, classic metal throwbacks, hooks that get right under your skin, throw in darker stuff like Casket Days (Sounding like Chrome Division), the odd acoustic number The Internal and trunk full of riffs it's a record that belies it's 13 song tracklist. Ironically (or not) it's ideal driving music, although you may get a ticket.

This is apparently the most well rounded Motorjesus record the band have made, well the fine tuning and production shine by Dan Swanö really makes this baby purr. Get the volume up, put the hammer down and praise Motorjesus! 7/10

Dopethrone: Transcanadian Anger (Totem Cat Records)

Can Canadian’s feel anger? I’ve always thought they were the friendliest people on earth but Dopethrone didn’t get the memo. They are a Canadian band (named after an Electric Wizard record) that play scuzzy, filthy sludge metal, sticking to their punk and hardcore roots the songs on this drug addled bastard of a record have titles such as Killdozer, Scuzzgasm, Tweak Jabber, Snort Dagger and Kingbilly Kush and in their press release it states that this fifth slab of sludge is influenced by “yellow snow, crack head diarrhoea, blood, tears and broken dreams” As you can probably guess it’s not a smile a minute the complete opposite to the Ghost record but then metal is a broad church, however I struggle with a lot of the straight ahead sludge bands as sometimes their music is a little too soupy with the distorted to hell riffs blurring into one long monotonous riff and snarled vocals, plus they rip off Tush by the mighty ZZ Top on Kingbilly Kush, which drops them a point further. If you’re sludge metal fan then get some Transcanadian Anger, if not stick with something a little happier. 6/10