Reviews: Alter Bridge, Alkaline Trio, Liar Thief Bandit, Ravenlight (Reviews By Alex & Paul H)

Alter Bridge: Live at the Royal Albert Hall W/The Parallax Orchestra (Napalm Records)

Evolving from post-grunge band to theatrical metal outfit, Alter Bridge have always been unafraid to be ambitious. This live album recording just that by incorporating songs from their discography into a phenomenal set at the Royal Albert Hall, accompanied by a full Orchestra, a move which makes perfect sense considering the evolution of each album. Blackbird proved staying power with powerful anthemic choruses, and sweeping emotional moments. ABIII mastered a darker sound, with introspective lyricism. Fortress proved some of their most visceral and commanding work yet, while The Last Hero incorporated theatrical and symphonic ideas into their style. Myles Kennedy’s stunning vocal range and Mark Tremonti’s signature guitar stylings, both playing off the musical expertise of the Parallax Orchestra, only adds to the epic atmosphere that these songs embody.

None of the live ferocity which Alter Bridge bring to traditional live settings is lost. Addicted To Pain, The Writing On The Wall and Cry Of Achilles to name only a few, are performed with the same vigour as those who have seen this band live, except galloping perfectly in time with the rhythm section are is a chorus of stringed instruments, and providing atmosphere to the suspenseful moments is a company of brass instruments. We even see the band taking the opportunity to perform some live rarities, including The End Is Here and Words Darker Than Their Wings. Perhaps the instants where this interplay is played out best however, is on the ballads. Before Tomorrow Comes is transformed splendidly from a pleasant rock tune, to a joyous and euphoric anthem. Wonderful Life and Watch Over You which are played side by side in what you can only imagine must have been a particularly moving moment for the audience have their subdued beauty complemented yet not overwhelmed. Even Blackbird, one of my personal favourite songs, has its sincere emotionality and lyricism about moving on or losing a loved one, made to paint a yet more vivid picture, and flies us from through each sombre or determined moments in that songs progression.

Of course, I have no doubt that there are some moments in which the magnificence of the show is lost on the production, no live recording is going to replicate the experience of going to a concert. Yet, we have all heard it argued that metal is the closest music musically to orchestral or classical music. While that’s a debate for another day, shows like the one remembered here lend the idea some accuracy, by carrying a commanding atmosphere, and carrying emotion as well as loudness. 8/10

Alkaline Trio: Is This Thing Cursed? (Epitaph Records)

Alkaline Trio occupy a musical space also laid claim to by the Offspring or Green Day, balancing traditional, frenetic, Ramones style punk, while also embodying some of that pop-punk immaturity, enjoyed as a near-generation spanning guilty pleasure. In fact, frontman Matt Skiba, has showed his allegiance to both, collaborating with members of NOFX and BADCOP-BADCOP, for the low-budget punk musical Home Street Home, and more notably becoming a full-time member of Blink-182. ‘Trio themselves though are returning to that mid-way point after spending a few albums dabbling in darker and less carefree waters, proving a welcome decision. With thirteen songs and a running length of just over half an hour, Is This Thing Cursed? is full of short, sharp an catchy punk songs which don’t dump the personal or political lyricism of the past few records. 

Tricking you for a moment into thinking it might be emulating the musical direction of them, the opening title track begins with a pretty piano melody, before the familiar sound of a bouncy rhythm section, simple yet striking four chord riffing and back and forth singing exchanges kick in. "Maybe it’s some kind of spell that I’ve been living under, collecting coins found near a wishing well’" Skiba sings here, using his penchant for mythic terms of phrase to allude to his drinking problems Blackbird and Demon Division immediately follow, proving effective for making the heart race, the later declaring ‘’you’re not in love your just insane’’ humorously, yet with a large nod to the more serious topics of fear and paranoia. Little Help? and Pale Blue Ribbon are more traditional, paying homage to the strong folk tradition in their genre, seeing our frontman adopt a familiar snarl, as if playing a character. 

 Owing more so to Skiba's time in a musical, Goodbye Fire Island and Throw Me To The Lions use light and shade to create a sentimental feel. Indeed, Stay and Krystalline are two songs relying on a more stripped down composition, to carry emotion, proving again that you don’t need a doctorate in musical theory to be a great songwriter. I find Skiba's knack for taking seemingly tiresome concepts like romance or alcohol and transforming them into something deliciously dark intriguing, yet if we are to acknowledge how lyricism walks hand in hand with the playing, I can only admire the instrumental interplay here. No one is showing off, but are instead coming together to a sound which is crisp and warm, yet bursting with attitude. 7/10

Liar Thief Bandit: Straight Ahead (7Hard)

Liar Thief Bandit have a sound which is about as forthright and fiery as the name suggests. A rock n roll so imbued with huge choruses and distinctive guitar licks, that even a massive music snob like me, can’t help resist. Just something about the no frills work hard play hard attitude of Fire It Up, the frantic and rebellious sting of Head Down, or the cheeky boldness of Liquor And Poker embodies a charm so closely associated with a local music scenes, and traditional bluesy traits, which punks and meatheads alike can’t help but enjoy for the honesty and straightforward sound. 

Production, courtesy of Gustav Brunn, is incredibly polished, a trait which stands out especially on songs like I Stand Corrected and The Good Ones. Although this may ever so slightly take away from some of the raw liveness associated with acts as Motörhead and AC/DC, which these musicians undeniably take influence from, it’s a style which helps to bring out the hooks in the guitar exchanges and harmonies, while still keeping the crunch and fierceness firmly upfront. Overall, Straight Ahead gets you in a good mood with its catchiness, down-to earth lyricism and kind-hearted assertiveness. Sometimes that’s all great rock music needs. 7/10

Ravenlight: End Of The World (Self Released)

It’s no secret that I struggle with symphonic metal. I’ve dabbled, tasting the offerings of Within Temptation, Nightwish, Delain and Epica, but after a while I’m afraid I get a bit bored and in need of a new rush to stimulate me. Ravenlight is a two-piece outfit from Northern Ireland who formed in January 2018. This four-track EP described as the core pillars of the band is the result of their hard work since their formation. All the music is played by John Connor, whilst Rebecca Feeney provides the operatic vocals. Feeney’s high-pitched operatic vocal is an acquired taste, and one that doesn’t always work for me. The music is a typical mix of fast paced drumming, heavy synths harmonies and crashing guitar riffs.

At least on the rousing The Wild Hunt Feeney lowers the range a little and makes it much more listenable than opener Words Unspoken. The title track contains some of the most irritating keyboard work I’ve heard in years, and it’s at this stage that the weakness of a multi-instrumental musician surfaces. It’s hurried power metal, racing unnecessarily whilst being completely devoid of feeling and passion. And don’t get me started on the dull, plodding final track, Where The Stars Grow. I wish Ravenlight every success. I really do. However, if this is the end of the world, then kill me now. 4/10

Reviews: Metal Allegiance, Freak Kitchen, Chthonic, Four Seconds Ago (Reviews By Paul H)

Metal Allegiance: Vol II Power Drunk Majesty (Nuclear Blast)

The success of the debut release from this admittedly mighty supergroup in 2015 earned an 8/10 from me. Live I wasn’t that bothered, only watching a bit of their appearance at Bloodstock but with the follow up release containing several of my favourite vocalists, this was an album that I was keen to listen to. I suppose it’s unsurprising that the tracks on Vol II tend to fit the vocalists rather than the other way round. Take Mother Of Sin for example. What else would you expect from Overkill’s Bobby Blitz than a stomping thrashing beast that takes no prisoners and allows Blitz to deliver his trademark scream? Terminal Illusion features Accept frontman Mark Tornillo and yeah, it sounds like a track of the next Accept album. Now, that’s no bad thing, as Accept fucking rule and I love his gravel-soaked delivery. It’s a thunderous track, with Mike Portnoy, for it is he on the drum stool once more battering the shit out of his kit.

King With A Paper Crown sees Alex Skolnick riffing for his life, with Amon Amarth's Johan Hegg delivering in the only way he can, gruffly. By far and away the best track on the album however, is the anthemic Voodoo Of The Godsend. Tribal drum patterns and down tuned guitar make way for Soulfly’s Max Cavalera who gives a stellar performance. In fact, this would fit perfectly on the forthcoming Ritual album. Elsewhere we have Troy Sanders from Mastodon and ‘house’ vocalist, Death Angel’s Mark Osegueda who not only delivers strongly on Impulse Control but gives his all on Power Drunk Majesty Part I before Floor Jansen adds a bit of feminine style to Part II. With Dave Ellefson and Mark Menghi superb in their execution alongside Skolnick and Portnoy, the musicianship is unsurprisingly first rate. This is an enjoyable release which allows all those involved to let rip. 8/10

Freak Kitchen: Confusion To The Enemy (Thunderstruck Productions)

One of the joys of writing for Musipedia of Metal is the range of music you are exposed to. Freak Kitchen is a typical example. A band I’d never heard before, they formed in Gothenburg in 1992 by guitarist Mattias ‘Ia’ Eklundh, Freak Kitchen soon earned a reputation for their ‘corny heavy pop rock Latin world jazz avant garde metal blues straight from hell’and Eklundh was in high-demand, with his guitar playing featuring on albums by Soilwork, Evergrey, Bumblefoot (Sons Of Apollo/Guns N Roses), Jonas Hellborg, amongst others. 

Album number nine reflects the band’s singular vision which has been a constant on all their albums. Citing influences as diverse as Dean Martin to Slayer, Kiss to Zappa and Indian Carnatic music, approaching Confusion To The Enemy requires an open mind. It is certainly as promised: a wide-reaching, experimental/progressive/metal smorgasbord. From the opening comedy skit of Morons, the Electric Six style Alone With My Phone, through to the mellow sentimentality of By The Weeping Willow, the thumping title track and the jazz fused The Era Of Anxiety, Eklundh along with Christer Hysén (bass/vocals) and drummer Björn Fryklund provide one of the more interesting and eclectic albums of 2018. Definitely worth checking out. 8/10

Chthonic: Battlefields Of Asura (Century Media)

I’ve seen Taiwanese black metal icons Chthonic twice live. Once at BOA in 2012 and supporting Satyricon at the Limelight in Belfast in 2013. Both times I was distinctly unimpressed. Battlefields Of Asura is their eighth album and their first since 2013’s Bu-Tik. In the intervening five years the band have focused on domestic issues, raising families and in the case of frontman Freddy Lim, who is one of the most principled and right on people in metal, forming a new political party and being elected to the Taiwanese parliament. Kudos to him for that achievement. 

However, despite that, and the presence of Randy Blythe and Denise Ho, iconic freedom fighter and singer from Hong Kong, this is an album I really struggled with. I love black metal but the vocals on this release are just appalling. I’m fully in favour of the concepts that run through the 11 songs on the album, depicting the adventure of deities in Taiwan carrying messages about resistance, freedom and fraternity. Musically there is much to be impressed about, with the synth work mixing neatly with the frantic blast beats and tremolo picking but I’m sorry, the vocals just destroy it. 5/10

Four Seconds Ago: The Vacancy (3 Dot Recordings)

The combination of Periphery guitarists Jake Bowen and Misha Mansoor, The Vacancy is the debut release on 3Dot Recordings, the label devised by the whole of Periphery. It’s fair to say that this is far away from our usual fare, with organic electronics, analog synths, lush guitars and ethereal vocals layered through 50 minutes of electronic music. The downtempo dreamscapes intertwin perfectly on an album which provides numerous calming tranquil moments, programming has never been particularly interesting or attractive but there are moments on this release which sweep over you in waves. Galaxy and Bloodfrenzy immediately catch the ear, the ambient sounds combining strongly. The album culminates with the title track, a seven-minute piece which explodes with high tempo in mid-section and which also features Axel Mansoor on additional vocals. Whilst I’m still not taken with the whole electronic music field, this is ideal for calm, relaxation as well as helping with insomnia. 7/10

A View From The Back Of The Room: Sikth (Review By L'Angelo Mysterioso)

Sikth, Loathe, Malum Sky, The Globe Cardiff

A warm but rainy Sunday evening sees some eager prog and tech metal fans queue up early, eagerly awaiting entry to the well established, 350 cap ‘Globe’ in Cardiff.

Malum Sky (7) start the evening off with their mix of classic and contemporary prog metal. With 100 people through the door at this point means at first, the crowd is a little still but as the band power through their riff catalogue, reminding me of Dream Theater, Gojira, Tool and Textures, all at the same time, the crowd warms up to them as their rather outgoing front man boogies through the powerful instrumental sections. They’re the kind of band a young metal fan could take their dad to and he’d also enjoy them.

There’s no denying the band are skilled musicians but at times, things seem a little forced and don’t always flow. The more mainstream members of the crowd struggle to follow some parts of songs but as more people flood in from the rain, the room warms up and starts to move in and out of time with the band. Their applause at the end of the set is more than any local metal band the venue has seen for a long time. Overall, Malum Sky perform a technically proficient set with an intriguing front man making up for the rest of the band’s static (at times) stage presence while they nail their hard parts.

Up next, Loathe (9) set up with a good portion of the crowd eager for them to start. Sound checking and tech-checking in the dark, the mysterious five piece prepare themselves. Then it starts. Eerie sounds and visuals, dense grooves and dark melodies. The room instantly begins to move to their perfect blend of hardcore, deathcore and metalcore. Grooves, tempos and time signatures change with ease and the band are clearly having fun, being able to play the difficult material almost album perfect. As the set continues, pits start and the frontman, Kadeem France, has the crowd in his hands as they obey his every word. The 4 piece rhythm section beside and behind him power through the thickest sounding riffs to emotional soundscapes in what can only be described as an attack on all the senses. But one that leaves you wondering how and wanting more. However, despite all of the above, the band are humble. Thankful to be in the room with us all and thankful to the opener and headliner for helping them put together a fantastic evening so far.

The room clears down for cool down and cigarette breaks as Loathe load out and Sikth (9) load in. There’s no air of mystery surrounding Sikth. The crowd start to come back in and know exactly what they’re about to get. The band don’t shy away from testing their gear as the drummer, Dan Foord, gives the OK and the house lights start to dim. However, as the band kick off with their first song, it’s apparent they’re a man down. Guitarist ‘Pin’ is not with them and at first, you can really tell.

 
The band muddle through their first song to an overwhelming response. Clearly happy to be back after such a long time the dual front man approach is one of the few that works well as they hype the crowd up for more of their back catalogue. By the 4th track, the band’s sound finally tears through you. You’re hearing it exactly as it’s intended. Bass through your chest, tapping and dissonance over the top of shrieks and shrills and crushing riffs emphasising just how heavy they are, and all this while a man down. The crowd enjoys the good mix of old and recent material moshing to almost every song, singing along where they can and headbanging, air guitaring or just smiling in disbelief at the tightness of the band.

The band were ahead of their time when they released their first album 15 years ago. Yet there were people there that would have only discovered them this year and as such the crowd varies from 16-45 but this doesn’t stop everyone in the room coming together and appreciating a band truly at the top of their game. The crowd were left in disbelief at the range of textures throughout their set, playing favourites and a couple we just didn’t expect but ultimately how they didn’t disappoint in performance, despite being one of the most technical bands out there. 

A View From The Back Of The Room: BMF 666 Charity Gig Pontypool

BMF 666 Charity Gig: Isolation, Sepulchre & Eulogy, The Dragonflli, Pontypool

The second Bloodstock Metal Forum charity evening of the year was a slightly more muted affair than the previous one at Fuel Rock Club. This time the action took place at The Dragonflli in Pontypool, I bit further away than Cardiff centre but in true troubadour style we made our way against the adversity of a broken vehicle to the venue to support a glut of local talent. Upon arrival we were informed that Sounds Of Insane Music wasn't performing so there was only three acts playing this evening however the atmosphere was warm with everyone pulling together to raise as much money for Hope GB (Local Autism Charity) as possible. With an alcohol free Budweiser in hand (seriously this is great beer, sweet and moreish) it was time for the night to begin.

First up on the stage were Eulogy (7) a groove laden trio that did a stock in trade with stoner influence rock. Drawing similarities to Pig Irön (especially vocally) they rocked away with the crowd bobbing along nicely to the fat riffs. A slightly ropey start and a complete lack of lead guitar gave way to a more entertaining final third of the set where Neil's voice grew into a Mark Tornillo styled bellow and the band eased into a groove cracking jokes about the size of the crowd (it was still early) before finishing with a bang. Nothing like a bit of hard rocking to get the night off to a strong start, it was an easy way to kick things off saving the heavy for later.

As far as the next band on stage were concerned there is a simple question to ask. Do you like Slayer and Kreator? Well good because so do Swansea death thrashers Sepulchre (8), expanded to a four piece since I last saw them adding guitarist Dan Yeoman and bassist Ashley Quinton to the founding duo of Darren Evans vocal/guitar and drummer Aimee Coppola. The addition of the second guitar is pretty vital to their sound it's given them a much more vibrant and aggressive style meaning the riffs snarl as much as Darren's death metal vocal. He's an excellent frontman bare chested and headbanging with all and sundry (the wonders of a guitar wireless system) the major focal point while the remaining three members lock in for serious aggression. Tracks such as Dreadnought, Slave Psychosis and Betrayed By God were delivered with venom and got those who were straggling in the bar into the performance room to throwdown. It was injection of pace the night needed with the room filling during their set. It was great to see this band live again as they always impress but now they seem more ferocious than before.

Finally it was time to add a little theatricality to the evening with the headliners for the evening Isolation (7). Curiously the look of the band totally betrays their sound, with those on the instruments decked out in orange prison overalls and a corpse painted frontman arrived in a straight jacket and leather Lecter mask. Those expecting King Diamond, Cradle Of Filth or even Alice Cooper though were gravely mistaken as Isolation have a sound much more in tune with Ghost, it's NWOBHM styled melodic metal ripe with bouncy riffs, clean solos and horror lyrics. The gravelly vocals meant it was more Di'Anno than Dickinson but the songs were pretty decent although a cover of Breaking The Law wasn't totally needed but it's a Saturday night so sometime a singalong is just what the (mad) doctor ordered.

All in all it was another successful night from Jenny Lou and Craig of the BMF (South Wales Branch) who organised the show. They made £190 for Hope GB and got a lot of local bands a new audience. The next BMF outing is at Easter next year and is already looking to be a cracker with Witch Tripper headlining. Good work to all involved! Can't wait to do it again!

A View From The Back Of The Room: Sanguine (Review By Alex)

Sanguine, Crawlblind, In Which It Buns & Trep, Fuel Rock Club

Sanguine has been cultivating an impressive following since the release of their self-titled album in 2012. Their style of forceful alt metal has allowed them the opportunity to work with a few high profile names, ranging from Megadeth, serving as main support for Dave Mustaine and co. at their 2012 London Shows, to Adrian Smith of Iron Maiden, contributing backing vocals for his side project, Primal Rock Rebellion. Tonight though, they are playing to a small audience of dedicated Welsh fans in Cardiff's Fuel Rock Club, and are overjoyed to be doing so, as singer Tarin Kerry makes clear when she declares "we love playing to you guys, some of our craziest fans gigs are in these small venues". If one thing is for certain from the audience - made up of both friendly and outgoing regulars to Womandy Streets live music scene, and enthusiastic fans here to see the main act they determined to prove her absolutely right!

Let’s not forget the support acts, as they certainly do not warrant forgetting. First up are locals, Trep (8). Their audience is still decidedly small, yet those who do get down early to see them are impressed by the noise coming from their powerful three-part drum, guitar, and 8-string bass combo, as made clear by a few complimentary words by each of the following acts. Most importantly, it is absolutely clear that they are having a great time playing, joking between themselves and commanding the small stage with a passionate presence. Theirs is a more traditional style of rock, bringing together elements of hook-laden thrash, with melody and respect for the classics. "We aren’t the heaviest band on today, the three others are way more brutal than us" jokes vocalist and guitarist Rhys Evans. While they are right that tonight is a very mixed booking, their lack of unfiltered aggression does not mean they can’t get the night off to an excellent start and make themselves stand out in the memories of onlookers. Undoubtedly an act to look out for as they tour the local rock bars, and release their first EP.

"We are In Which It Burns, and all our songs are about things I hate" bellows frontman Wayne Mayhew as his band take to the stage. Sure enough, he addresses the growing crowd frequently, introducing songs about universally hated subjects – Racism, Hitler, annoying supermarket staff - an effort proving good-humored, rather than preachy. All the anger in the music stood out as well, as blasting drum beats pound their way throughout the songs, guitars viscerally crunched, and vocals were kept to a low, sinister growl. Admittedly, probably owing to the difference in tone between both the last band and what I’d heard of the headliners, I was not sure what to think as they began playing their style of death metal. However, as the set went on I picked out the subtleties and arrangements in their music. Audience members had the same experience I find as feet began to stamp, heads began to nod. A sense of vigour felt alive in the room by the time the In Which it Buns (7) had finished.

Crawlblind (7) is the second to last act of the night and act as a brilliant warm up for the headliners. The most notable thing about their music is the energy it amplifies, combining the distortion-laden instrumentation of funk metal, the synthesised and melodic elements of alt-rock and the vocal prowess of aggressive metalcore. Unlike the other bands performing tonight, these do not so much grasp attention by directly addressing the audience. In fact, if I have any criticism here it is that the thirty-minute set went by incredibly quickly in a blur of noise, not leaving much time for subtlety or anticipation. Rather, by commanding all the empty space around them and thrashing around both onstage and offstage, they provoke the first fully-fledged mosh pits of the night. Adding to the carnage, of course, is the strobe lighting, which adds to the fast-paced feel, and makes for an excellent spectacle all things considered. Our main support acts set may have been a frenzy of dynamism and volume, yet they put on a show and amped up the excitement for our headliners.

Finally, it is time for the main act of the night. Sanguine (8) greet a packed room of fans who, despite being suitably warmed up by the more than impressive support acts, have been waiting to hear them play their impassioned style of rock. To those who have not heard anything from this band before, it combines everything we have seen from the acts up to this point. There are huge, tasty riffs with a whole load of catchiness. There are singalong melodies and chants, as well as guttural growls, and moments owing strongly to metal.

Keeping the audience hooked with a lot of opportunities for participation, both band and fans feeding off each other’s enjoyment. In their allotted set time, they tear through songs from their self-titled album, their 2016 release, Black Sheep, as well as one new song and an unexpected cover of Loyalty by fellow alt-rockers, American Head Charge, all the time keeping the audience in check for the slower moments and letting them let loose for the heavier ones. One of the best moments comes when Kerry ensures everyone can have their fun by breaking up some undue aggression in the moshing, with enough sense of humour, not to do away with the exciting and colourful vibes, now fully embraced by everyone in the room. 

True, the number of dedicated fans present helped in cultivating this atmosphere, yet it is one enjoyed by even new fans, like me. A night worth remembering.

Reviews: Uriah Heep, Deicide, Aborted, The Crawling (Reviews By Paul H & Sean)

Uriah Heep: Living The Dream (Frontiers Records) [Paul H]

In an astonishing career spanning several decades, Uriah Heep continue to release quality hard rock. From their formation in 1970 with debut Very ‘Eavy, Very ‘Umble, to their latest and 25th album Living The Dream, Mick Box and co have sold over 40 million albums, earning them every right to be called legends. Box may be the only original member of the band, but that detracts little with vocalist Bernie Shaw and keyboard player Phil Lanzon both firmly anchored in the band since 1986, drummer Russell Gilbrook occupying the drum stool since 2007 and bassist Davey Rimmer now over five years in. This is Heep’s first album since 2014’s Outsider and it sits very much in the melodic rock camp. The opening three tracks, single Grazed By Heaven, Living The Dream and Take Away My Soul are all dominated by Lanzon’s thick keyboards and Shaw’s superb clean vocals.

Grazed By Heaven fires the first taste of Lanzon’s keys, but don’t think that Box is taking a back seat as he fires back some sharp guitar work. Take Away My Soul is has a 70s prog sound but as the album progresses the unmistakable comparison is with fellow 70s hard rockers Deep Purple. Rocks In The Road for example, an eight minute epic that builds dramatically, would sit comfortably amongst latter day Purple albums, and it is not impossible to draw similarities between Purple’s Don Airey and Lanzon, both with a rich, warm and fluid keyboard style. Similarly, there is plenty of guitar and keyboard interplay between Box and Lanzon, just as you would expect with Steve Morse and Airey.

There are also huge likenesses with Shaw and Ian Gillan in their vocal style. Now that, in my book is a good thing, and whilst Purple looms large, this is definitely a Uriah Heep album. With a real 70s feel, including the quality of the lyrics, see Goodbye To Innocence as an example, this is a solid hard rock album, perfectly delivered. Whilst it may not impress the youngsters, this is an old school album with a fresh new feel. 8/10

Deicide: Overtures Of Blasphemy (Century Media) [Sean]

Y’know, sometimes I just crave a good ‘ol steak dinner. No muckin’ about, just medium rare meat (Surely rare? - Dinner Editor), a mountain of spuds and lashings of good ‘ol gravy. I think it’s fair to say that Florida legends Deicide are very much the “steak dinner” variety of death metal, you know exactly what you’re getting and would be a downright eejit for expecting otherwise. Aside from the melodic renaissance spawned by The Stench Of Redemption (RIP Mr.Santolla), there’s been only subtle tweaking to the tried and true hearty blasphemies of Papa Glen’n’Steve. Completed by guitarist Kevin Quirion (Order Of Ennead, excellent btw) and new axeman, Mark English (Monstrosity, also excellent), does new album Overtures Of Blasphemy deliver the goods? Put it this way; some old dogs don’t need new tricks. Especially when they can still bite your face off.

Overtures Of Evil can be regarded as an album of two parts, ye olde Deicide and post Hoffman Deicide. Opener One With Satan is trademark Deicide, pure and simple. Tremolo riffs! Ripping solos! Steve Asheim’s relentless blastbeats and Glen Benton’s ageless roar! This is pure fucking Deicide, what more could you want? Crucified Souls Of Salvation and Flesh, Power, Dominion offers up more thuggish basting that the Floridian heathens have perfected over the decades. Excommunicated injects a bit of thrash and Anointed In Blood chugs with wanton abandon but the core remains unchanged.

Crawled From The Shadows displays the more melodic aspects that have become a part of the onslaught in recent years, injecting some youthful vigour into the already well oiled machine. One could attribute the subtle shifts here to guitarist Kevin Quirion, shades of his previous work fitting comfortably within the overall brutish oeuvre that is Overtures Of Blasphemy. Of course, new guitarist Mark English’s input cannot be discounted either, whose dextrous neoclassical cadenzas soar with aplomb. This is revisited again on Compliments Of Christ, melody seamlessly married with brutality to great effect.

Look, this is Deicide and Overtures Of Blasphemy is a solid album and a reminder that Deicide still mean business. Could things be shaken up a wee bit more? Probably but that’s not what I came here for, nor what Deicide are all about. After 30 years of sticking to their guns, you can be damn well sure that they’ll be still be sticking to ‘em! It doesn’t differ greatly from it’s predecessor In The Minds Of Evil (TOO CLEAN, SUECOF!) but does it have to? We live on a sorry lump of blue’n’green in constant socio-economic flux, so be thankful that we can still bank on the few certainties in this life. Deicide play no-frills ferocious death metal, the Hoffman’s ain’t coming back (get over it), religion is still fucking terrible and Deicide will hate it’s guts till we’re swallowed by the void. Or nuclear fire, depends which one comes first. 7/10

Aborted: TerrorVision (Century Media) [Paul]

I remember the last time I saw Aborted at The Fleece. A 40-minute opening slot for Kataklysm at The Fleece in Bristol in 2016. Hanging onto one of the numerous pillars that are staged around the venue, it was the equivalent of a death metal wind tunnel. Numerous punters flew past me, foolish enough to think they could move through the venue relying on gravity alone. Fast forward two years and the same thing happened again. Only this time in my study as the delicate intro of Lasciate Ogne Speranza gave way to the monstrous title track. This is vicious stuff. The follow up to 2016’s Retrogore, Aborted have shifted slightly in terms of subject matter. Vocalist Sven 'Svencho' de Caluwé has opted to use 80s horror movies as a lens into what’s happening in the world today. 

He stated “This record is quite different from any we have done before. It is, more or less, about what is going on with the world right now, all in Aborted sauce obviously. There is a deeper meaning, layered thoughts in there, more so than before. Think of TerrorVision as if it were an ‘80s horror movie talking about how the media in general is some sort of evil, demonic presence that is manipulating the opinion of the masses by spreading hate, fear, bigotry, terror, racism and all those fun things that make humans the most terrible thing to have ever happened to this planet. So, there is quite some stuff going on there that is not just the typical gore lyrics.”

As punishing and massive sounding as previous releases, tracks such as Vespertine Decay, the gruesome Squalor Opera and the monstrous Visceral Despondency demonstrate not only the brutality of the Belgian outfit but also the oft-overlooked musicianship that resides within Aborted.

The drumming of Ken Bedene comes at you with machine gun pace, the guitar work of Mendel bij de Leij and Ian Jekelis slashes with visceral intent and Stefano Franceschini’s bass just destroys. With an album cover conjured up by Swedish artist Pär Olofsson and guaranteed to give you nightmares, such is the terrifying imagery. Nearly 20 years since The Purity Of Perversion hit the airwaves, Aborted continue to deliver some of the most energised and pulverising death metal around. This is an absolute crushing album. 9/10

The Crawling: Wolves And The Hideous White (Grindscene Records)

Northern Ireland’s misery riddled doom/death trio The Crawling failed to impress me with their debut release Anatomy Of Loss although I did conclude my review with the line ‘The Crawling have potential. Whether they can achieve it is up for debate.’ Well, in sophomore release Wolves And The Hideous White the Lisburn City outfit have certainly taken a giant step in the right direction with six tracks of hideously heavy music designed to cave in skulls and breach castle walls. The title track sets the scene, pummelling drums, thunderous riffs and the harrowing vocals of Andy Clarke, much improved since their debut. Clarke’s guitar work is devastating throughout, adding a sinister edge to the rock-solid engine room of drummer Gary Beattie and bassist Stuart Rainey. 

Opening with the title track, the album explodes with the force of a tidal wave hitting landfall, and for the next 37 minutes proceeds to kick you in the head. Still No Sun follows, the disgust at humanity spat with venom from Clarke’s demonic vocals. Rancid Harmony is a lesson in gothic darkness, the crushingly slow opening pace accelerating steadily, reducing speed whilst retaining all the power and then once more moving forward, all the while maintaining a heaviness which could split the sky. Halfway in and all hell breaks loose as The Crawling add even more weight and any remaining life is slowly expelled through the sheer weight of this brutality. The riffs on this track are venomous. The more complex approach works superbly throughout the album, and a mature approach is a statement of intent. Wolves And The Hideous White is a massively impressive album, all flexing sinew and pulsing muscle and one which demands your attention. 8/10

Reviews: Ian Gillan, Master, Dead Letter Circus, Emperors Of The Wasteland (Reviews By Paul H)

Ian Gillan: Ian Gillan And The Javelins (earMusic)

Transport yourself back 54 years and a teenage Ian Gillan, yet to become the rock god with Deep Purple, is cutting his teeth with The Javelins, a good time rock n’ roll band who comprise guitarists Tony Tacon and Gordon Fairminer, drummer Keith Roach and bassist Tony Whitefield. Their one album was a selection of cover versions of tunes that were popular at the time. Speed forward once more, to 2018 and Gillan, now a veteran and real rock legend has reunited with The Javelins to record 16 tracks of old school rock n’ roll which sounds as fresh now as it did back in the band’s fledgling time together.

Recorded in four days in a studio in Hamburg, with just the basic instruments available, Gillan told Ultimate Classic Rock that having got the original band together, the band “kept playing in the style which was in 1962 and consequently when I’m listening to this, I think ‘My God! This is so authentic’. It sounds exactly as it did in those days”. With the addition of Don Airey on piano this really is a trip down memory lane. Do You Love Me, Memphis, Tennessee, High School Confidential, Save The Last Dance For Me and Rock n’ Roll Music all feature in a sixties style which was a feature of every café, high school and youth club back in the day.

It’s not metal at all, and most of our hard-edged readers will probably recoil in horror, but I really enjoyed this release. About as far away from most of the stuff we review as it can be, this is nevertheless a fun release dating back to a time when music was genuinely vibrant, exciting and the beating pulse of the youth across the world. 7/10

Dead Letter Circus: Dead Letter Circus (Rise Records)

I struggle with alt-rock most of the time. The multi-layered angst driven guitars, the mournful vocals and abstract time changes rarely engage my listening delight. Such is the position with Dead Letter Circus and their self-titled fifth album. Unsurprisingly, I was unaware of the band, but I was interested to discover that the Brisbane outfit released their debut This Is The Warning in 2010 and have built solidly on that ever since. To be fair to the Aussies, Dead Letter Circus is superbly crafted, with the musicianship clinically delivered. Kim Benzie’s voice, whilst typical of the genre, is crisp and clean, with the sorrowful vocals a perfect fit for the intricate delivery.

The guitar work of Clint Vincent and Luke Palmer is neat and sharp, with Benzie’s keyboards subtle. The album consists of ten tracks, the pick of which is Change, with its strong chorus and hard driven guitar work. Ladders For Leaders changes style a little, with a slower paced start, reminiscent of Linkin Park at their height. However, there is a fair bit of repetition and the tracks do tend to blend into each other. I may be being unfair on a band who are clearly hitting the right notes and if you like the alt-rock style this is worth checking out. Just not for me. 6/10

Master: Vindictive Miscreant (Transcending Obscurity Records)

Death metal legends Master have never featured in the Musipedia before so with the release of their much-awaited full length album Vindictive Miscreant what better time to wrong this right? Formed way back in the mid-1980s as Death Strike, the band, and it’s driving force Paul Speckman were originally from Illinois but relocated to the Czech Republic. With a stable line-up since 2003, where Speckman was joined by drummer Zdnek Pradlovsky and guitarist Aleš Nejezchleba, Master have continued to deliver their gargantuan vitriolic intensity with dogged single mindedness. Soaring guitars, unearthly vocals and a drum and bass combination that rattles the bowels of hell, Master is unashamedly old school; think early Death, Celtic Frost, early Sepultura and Obituary.

The album features eight tracks of relentless riffage, with the schizophrenic Sabbath riffing of The Inner Strength Of The Demon (Children Of The Grave anyone?) contrasting with the all-out frenzy of the opening title track and the 100mph rampage of Replaced. Speckman’s guttural delivery is without doubt amongst the evilest that exists within death metal, his strangulated gargle guaranteed to raise the hackles. This may be the band’s 12th studio release but with history and a trademark gritty sound on their side, Master once again demonstrate that they are amongst few bands who are able to continue along the path they carved. Flawless in execution, saturated with hunger, passion and integrity, Vindictive Miscreant provides perhaps unnecessary validation that when it comes to death metal, Master remain very much in the heavyweight division. 8/10

Emperors Of The Wasteland: Begin (Self Released)

Limited information available on these guys, but I can tell you that Emperors Of The Wasteland hail from Derby, formed in 2016 and are a four-piece who play stoner edged hard rock. Clear Sabbath influences run through their debut release, Begin. Whilst the Sabbath riffage is evident throughout, there are many other sounds contained in this release. See You Again finds the band in full Cult territory, with vocalist Al delivering an eerily Astbury performance and in fact it’s Astbury that Al’s voice is reminiscent of throughout. The slow burn of the title track, full of sludgy riffs neatly contrasts with the pacier opening tracks Under The Skin and Zodiac. First single Mickey Finn is a solid hard rock song with some strong work from guitarist Sid and overall, whilst Begin is unlikely to win any awards it is a perfectly decent debut album. 6/10

A View From The Back Of The Room: Kris Barras Band

Kris Barras Band, Marc Pontin Group & Blackballed, The Patriot, Crumlin

On a pretty damp Friday night it was up to the venue that is becoming a favourite here at MoM Towers as I hit The Patriot in Crumlin which was packed to the gunnels from the off as punters and members of The Patriot's MC filled the room for the majority of the night. The venue itself is bigger than Fuel (the last place I'd seen KBB) and has more room to move around, it's also a damn sight cheaper! (Valleys pricing see?). As well as having a cracking, loud as hell, sound system which elevates with live gigs and it's probably essential with so many beautiful, beastly bikes outside.

With the room mostly full, Manchester trio Blackballed (8) hit the stage and hit the ground running, the hatted three piece groove machine started with what I like to describe as Steampunk stoner blues that's part latter day Zep mixed with Clutch. It's a great punchy sound that carried them through a set peppered with dark humour and big riffs. The brothers Gill plough away on guitars and drums aided and abetted by Tom Wibberley on bass. They warmed up the room admirably with the crowd really getting into their set as it progressed. I've seen Blackballed before supporting Federal Charm in Clwb Ifor Bach a few years ago, here though they had something to prove imbued with a fire that was reciprocated by the crowd in attendance. In a deafening flash it was all over and the applause like the Guiness filled The Patriot with a sense of warmth. Personally I'm not going to leave it as long to see them as I had before this show, they are very good live act.

Next up were the Mark Pontin Group (7) who again were a trio this time from Swansea, made up of Mark Pontin - guitar/vocals, Callum Morgan Jones-bass/vocals and James Garvey-drums/vocals, this was a bit traditional fayre as their music brings to mind that of Rory Gallagher, it's soulful blues played from the heart Pontin's vocals carrying a note of sadness all good blues players need as the songs are punctuated with screaming Stratocaster solos and nuanced playing influenced by folk and jazz. It was a good choice to have Pontin on second as he differed enough from Blackballed to keep the night fresh ready for the main event that was to follow.

That main event was cage-fighter turned blues rock hero Kris Barras (8) who since my last viewing in Cardiff's Fuel Rock Club is now the singer/guitarist for the blues rock supergroup Supersonic Blues Machine so with his star fast on the rise it was time to see how this had affected his stage show in smaller venues. There's certainly a new level of confidence as he took to the stage, strapped on his guitar and kicked off with Heart On Your Sleeve, the stomping Kick Me Down and the rollicking Stitch Me Up, the pace was high the crowd were in full voice from the first minute with Kris (who continued the hat wearing of Blackballed) peeled off tasty riffs and solos with ease while his vocals have moved up to another level entirely, although that may have been the clarity of the venue's sound.

The set was well paced with a storming cover of Fortunate Son coming near enough the middle to keep everyone on their toes, just before Propane and the Planet Rock favourite Hail Mary. If to support my point earlier the Kris Barras Band have that good mix of blues and hard rock, it's the sound that has made Joe Bonamassa a world beater and looks likely to do the same for Barras, especially with his knack for writing catchy, radio-friendly songs with soul to them that leaks into every note from his guitar and lyric from his mouth, just listen to Watching Over Me. Backing him up are the majorly talented Elliott Blackler - bass, Will Beavis - drums and Josiah J Manning - keys, the first two giving a rock hard under current as Manning matching Barras' pound for pound on the instrumental jam moments that crept into She's More Than Enough and Lovers And Losers.

Slick, soulful and with a right hook of hard rock the Kris Barras Band made sure that everyone in The Patriot was in the right frame of mind for a Friday night, a huge ovation followed the set with many queuing up to meet Kris who humbly stayed at the merch stand for a while after the show giving autographs and having pictures taken with the baying mob, who had between them emptied three kegs of Guinness according to landlady of The Patriot! With a promise of more tours next year catch him while he's playing smaller venues as arenas are beckoning. 

Review: Voivod, Pig Destroyer, Our Divinity, Dishonour The Crown (Reviews By Paul S & Matt)

Voivod: The Wake (Century Media) [Paul S]

The Wake is Voivods 14th album, it comes 2 years after the Post Society EP and 5 years after the last Voivod album Target Earth. Voivod have had several different sounds during their career, so I was intrigued as to what was on offer from the Canadians. What we have is a fairly long (56 minutes), fairly progressive metal album. The album sounds great, really good production where you can hear proper separation between the instruments. The production is simple, very clear and this lets the songs shine through.

One of the first things that hits you about this album is the guitar. The sound is a little cleaner than you’d expect from your average metal album (this is not an average metal album), the riffs are so good, so full of energy, taught and tuneful. First track Obsolete Beings kicks the album off in great style, at times coming close to a thrash tempo, and as with all of the album melodic and brilliantly catchy. I’ve found that this is an album that gets into your head, I’ve spent the last 5 days humming pretty much all of this album. The vocals are very good as well, Snake sings, growls, screams and over the course of the whole album sound like 3 or 4 different people. As this is Voivod you have to expect a few curve balls. The use of strings on the tracks Inconspiracy and Sonic Mycelium, was a surprise, but a very pleasant one, adding a lovely melodious element to the album. Some of the guitar solos have a neo-classical feel to them, which again was unexpected, but works very well. It’s not all uptempo though, the track Spherical Perspective has a slower, slightly more mussing feel to it, which ends up being an enjoyable relaxed interlude.

I have really enjoyed this album. For a band that has been going this long, and produced the amount of material that Voivod have, to still be producing creative, innovative work like this is amazing. Even though the album is called The Wake, and considering the tragedy that this band have experienced, this album feels joyful. There is something uplifting and positive about it. I could have got this completely wrong, I might have misinterpreted it, but it makes me feel happy. I can’t think of a better recommendation than that. 8/10

Pig Destroyer: Head Cage (Relapse Records) [Paul S]

“We will not be held responsible for any hearing impairments or damage caused to you from excessive exposure to this sound” So says a posh English lady at the beginning of the intro (Tunnel Under The Tracks) to Head Cage, before it descends into a maelstrom of Alarms, Screaming and Industrial Noise. As a statement of intent to start an album, this takes some beating. In many ways it feels like a warning about the sonic nastiness that the band have in store for their listeners.

Over the course of their career Pig Destroyer have had several different iterations. There is the Pig Destroyer that does crushingly aggressive grindcore, there is the Pig Destroyer that does sickeningly heavy sludge, and not to forget the Pig Destroyer that dabbles in industrial. Pig Destroyer’s last album 2012’s Book Burner was straight down the line grindcore, this pleased the fans of the band that want them to keep on re-recording their classic album Prowler In The Yard. However, I get the feeling that the band found the reaction to Book Burner a little restrictive, and this album is a reaction to that. Head Cage is an aggressive, oppressive mix of all of Pig Destroyers different sounds. First track Dark Train is a minute long blast of furious grindcore, batters that crap out of you, and then immediately disappears. Circle River is a mid paced, aggressive sludgy hardcore workout. Circle River starts with a blast of electronic noise, before settling down to an angry industrial sound. Concrete Beast has a guest appearance from Agoraphobic Nosebleed’s Kat Katz on vocals. The track is a lurching monster of a sludge song, incredibly unpleasant and with an off kilter rhythm that seems to be designed to put the listener on edge. Last track House Of Snakes is a 6 and a half minute, slow, angry crescendo to the album.

Head Cage is not an easy album. This seems to be an album from a band that is refusing to be told which direction to go in. There are places on this album where there are so many different riffs, it feels like the song is continually transitioning from one riff to another. It’s like the band don’t want the audience to settle or feel comfortable with whats going on. But, if you give this album time, it will make sense, and it does become more palatable. Pig Destroyer are treating music as an art form, they are experimenting, and this is a great thing. The band is challenging it’s audience, if you just want them to repeat Prowler In The Yard, then you are not up to the challenge. Difficult, but brilliant. 8/10  

Our Divinity: Paralysis (Self Released) [Matt]

Our Divinity are alternative metal band oozing with modern coolness fronted by the feisty Zara the three songs on this record are fully formed future live favourites the best being the title track which has a huge defiant hook and melodic guitars over layered synths and punchy rock rhythms. This five piece have a knack of writing catchy rock music that reminds me of the early Noughties bringing electronic metalcore (without the screams) together with catchy pop melodies, they were originally a pop punk band before evolving into Our Divinity, it means they are sort of like Lzzy Hale fronting Linkin Park capable of pulling off big heartfelt moments but also starting swirling pits. Displaying a maturity beyond their years, there's a lot to look forward to from Our Divinity. 7/10

Dishonour The Crown: The English Way (Self Released) [Matt]

Hey kids do you like crossover thrash metal that sounds like it has a problem with you personally? You do? Great stick on The English Way by Dishonour The Crown and get ready to have the ear bashing of your life! The band was formed by Ron D (Romeo Must Die) guitar and Tom 'Kingsize' Hennessy (Kingsize Blues), the idea was born out of frustration for what was happening in the world and this debut album is filled with rage and bile aimed at politicians and those in power, just listen to Contradictions which is an anti-austerity anthem that sees Tom barking at the injustice. It's not a record you will see Theresa May bopping too, in fact that's probably the last thing Dishonour The Crown would want. Chocked full of razor sharp thrash riffs and staccato guitars power tracks like Weakened To The Bone, ferocious thrash cuts like a blade on New Ways To Heal while towering the grooves of DTC take no prisoners. A band is never more dangerous when they have a message or an ideal and Dishonour The Crown are as dangerous as they come, fight the power and let anarchy reign. 7/10

Reviews: Doyle Bramhall II, Kingcrow, Smoking Martha, In Which It Burns (Reviews By Matt & Paul H]

Doyle Bramhall II: Shades (Provogue)

Making his debut for the Provogue Shades is the follow up to his 2016 album Rich Man which was his first solo album in 15 years. He's been busy in that time though spending his time as the sideman for Roger Waters, Elton John, Gregg Allman, Allen Toussaint and T-Bone Burnett. More significantly, Bramhall he has also spent over a decade as Eric Clapton’s musical right-hand man and close collaborator. A noted singer, musician and producer Bramhall brings a lot of former employer into this solo record, so much of this record is in the same groove driven looseness of old Slowhand, the man himself even contributes to Everything You Need which is brilliant track that has master and student in perfect unison, sparse, wah powered, gospel union.

It's not all Clapton though, Hammer Ring takes the Southern blues of The Allman's, with the closing statement Going Going Gone featuring Tedeschi Trucks Band adding the Southern soul style. Searching For Love is a smouldering duet with Nora Jones where both of their voices intertwine as perfectly as the guitar and piano face off. Love And Pain has a fuzzy, garage rock of The Black Keys as does Live Forever. The unique guitar playing of Bramhall is incredible, there's no wonder he's so sought after by these big's names, it flows through him with a confidence that stems from natural unbridled talent, his vocals too are honeyed and filled with passion.

He's aided by bassist Chris Bruce, multi-instrumentalist/string arranger Adam Minkoff along with drummers Carla Azar and Abe Rounds, they are the sturdy backbone to expressive numbers such as the beautiful Break Apart To Mend and deal with all of the style variations on this record. With so many blues/etc guitarists trying to be the next Bonamassa, Trout etc Doyle Bramhall II is carving out his own legacy as a spectacularly gifted musician who has spent his career learning from the best. Pretty much a perfect album from an artist that finally seems happy in his own skin. 9/10

Kingcrow: The Persistence (The Laser's Edge)

Italian prog metal act Kingcrow knocked my socks off with previous album Eidos in 2015 so the anticipation was high for their next album. Finally it's come in the form of The Persistence the first album outside of the 'life' trilogy that concluded with Eidos and the band looked to broaden their horizons (not easy in prog) and move outside their comfort zone, having songs that retained the Kingcrow sound but moved it in a different direction. With their earlier records there was much heavier metallic sound, here it's lighter, more expressive, modern melodic soundscapes, think Dream Theater's Octavarium which was in tern inspired by Muse and U2.

Added to this I noticed some of the ambient textures that are used by Anathema and Steven Wilson, especially on the beautiful Drenched which is the first song on record, it's got a very modern prog riff at odds with the wistful piano, building into it's emotive hook of a chorus it's the first chance to rediscover the excellent vocals of Diego Marchesi he's got a brilliant range and adds a sense of urgency to Drenched but also a somber tone to Closer and the evocative Everything Goes built on the Cristian Della Polla's electronics and keys. If you listened to Eidos and you were expecting something similar then you won't get it on The Persistence it's a record of musical catharsis for the Italian band, unburdened by the conceptual nature of their previous albums they can play music that is cinematic, beguiling, uninhibited, contemporary and most of all majestic. If you liked them before then you'll embrace the change, if not then this is brilliant introduction to Kingcrow. 8/10

Smoking Martha: In Deep (Bad Reputation Records)

Aussie rockers Smoking Martha have signed a deal with Bad Reputation Records to finally get their debut album released in Europe and the UK. So what's it like? Well it's starts out with the steady groove of So Lonely which is a slow burning opening that shows off the sultry vocals of Tasha D, the whole album in fact is built around the smouldering sexy vocals of Tascha who sounds like a cross between Lzzy Hale, Maria Brink and Gwen Stefani, hollering and purring over the alternative rock riffs that Mick (guitar), Matty (bass) and Jordy (drums) lay down. From the jangling rock n roll of One Night, the walking AC/DC-like riffs of Follow, the bouncy What's Her Name, through to the acoustic sadness of Baby Let Me Go Smoking Martha display a breadth of styles and strong songwriting. Finally ready to be unleashed upon a UK audience the alternative rock of Smoking Martha is guaranteed to attract fans in the younger rock circles. 7/10

In Which It Burns: Beneath The Darkness Of Sky (Self Released) [Review By Paul H]

A tasty four track EP from Pembrokeshire groove merchants In Which It Burns comprising three original tracks and a brave cover. The band who are regulars on the South Wales circuit and who are well worth catching live. The Creed opens things up, a tight number which allows vocalist Wayne Mayhew to let rip with his strangulated roar fitting neatly alongside the lead guitar of Steve Flynn. 6341 threatens to tear a hole in the wall before the five-minute monster How Became The Rulers crashes the party. Solid, tight and well drilled, In Which It Burns even have the audacity to attempt Sepultura’s Roots as a finale. It’s a fine attempt, raw and boisterous. Much promise from a band who will hopefully get their big break in the coming months. 7/10