Review: Born Of Osiris, Ewigkeit, Lovebites, Prion (Reviews By Rich)

Born Of Osiris: The Simulation (Sumerian Records)

The Simulation is the fifth album by Born Of Osiris and the first of two albums due to be be released in 2019. Born Of Osiris is a band I have heard of but never checked out due to the metalcore tag surrounding them and my general dislike of that genre but after hearing The Simulation I feel I have greatly underestimated Born Of Osiris by thinking of them as just another metalcore band as there is FAR more to their sound. The music on The Simulation is very far removed from metalcore with huge influences from progressive metal, djent and technical death metal with a prevalent use of keyboards and electronics.

There is in fact so much happening on this album that it will take a couple of listens to fully absorb everything from chugging grooving riffs, atmospheric keys and technical guitar solos. The only thing I couldn’t get along with were the vocals. Frontman Ronnie Canizaro has a standard metalcore bark but keyboard player and co-vocalist Joe Buras does really grating screams and irritating clean vocals. This album was a surprise for me as although I didn’t love it I did find it perfectly listenable and have learned a valuable lesson in not writing off a band because of their metalcore roots. Musically this is fantastic but the vocal styles are definitely not to my taste and very off putting. 7/10

Ewigkeit: DISClose (DTM Productions)

DISClose is the ninth album by Ewigkeit the one man project from multi instrumentalist James Fogarty of In The Woods… and Jaldaboath (amongst others) fame. The sound of Ewigkeit has changed and moulded throughout the years from its initial black metal beginnings to space rock but with DISclose the sound is somewhere between melodic doom and death doom with various influences from extreme and progressive metal resulting in songs which are heavy yet deeply melodic and atmospheric. 

The sounds and styles shift and change throughout the album from the doomy undertones of Oppenheimer’s Lament, the blackened heaviness of KRLLL and the melancholic melodies of Guardians Of The High Frontier. The vocals range from black metal screams to baritone cleans and the clean vocals are especially commendable especially in songs like Guardians Of The High Frontier or Resonance where they are used to stunning effect. DISClose is a fantastic album which brings to mind bands such as Katatonia, Paradise Lost and Ghost Brigade but with black metal undercurrents and as such it is an album that delivers big time and is well worth your time. 8/10

Lovebites: Clockwork Immortality (JPU Records)

2018 was a hell of a busy year for Lovebites with pretty much non stop touring, a new EP and a new album all in just over a year since the release of their debut album Awakening From Abyss in October 2017. It’s safe to say with such an incredible amount of output in such a short space of time that there’s a worry that the quality of the material on Clockwork Immortality might be lacking or rushed but such fears are immediately dispelled as soon as you hit play. Clockwork Immortality is a less furious affair than its predecessor with a bit more of a streamlined approach both in the songwriting and production which means that this album doesn’t grab as immediately as Awakening From Abyss did but it’s in no means a lesser album for it. 

There’s less of a thrash metal influence this time round and a far more classic heavy metal approach to the songs. The Iron Maiden influence is very evident throughout (definitely not a bad thing). The European power metal influence is also very clear to hear especially in songs such as Addicted, Rising and We The United. Whilst this album does not immediately grab you by the balls it is a definite grower and one that is 100% worthy of multiple listens. Lovebites have gained quite a bit of attention over the past year and all for the right reasons as these girls severely rock and I’m sure will continue to go from strength to strength. 8/10

Prion: Aberrant Calamity (Comatose Music)

Aberrant Calamity is the fourth album by Argentinian death metallers Prion and is also the first album of theirs to feature drummer Flavio Coscarella who joined the band in 2016. Prion are not a band I have heard previously but they have a very standard take on death metal which has influences from the classics of the genre as well as sounding very contemporary but unfortunately very little stands out. 

There are plenty of groove heavy riffs and blastbeats but it sounds incredibly formulaic and generic. There are some nice riffs here and there but they just get lost in the mediocrity. Aberrant Calamity is well performed and well produced but it just sounds very flat and uninspired compared to a lot of death metal. Nice background music for extreme metal fans but there’s very little that stands out. 5/10

Reviews: Outright Resistance, Althea, Bus, Devilfire

Outright Resistance: Cargo Cult (Self Released)

We were first exposed to the aggression of Outright Resistance at Bloodstock 2016 where they stormed the Jagermeister stage, after this Stief gave their debut EP a 10/10 so four years later will their debut full length receive such a monumental score? Well if you like some modern heavy metal akin to Slipknot and Parkway Drive then Cargo Cult will be playing at full volume for most of your year, however metalcore (or whatever core) is a genre I've never been particularly fond of so I approached this album with hesitation but an open mind. Since the EP there has been a change in the ranks as James Jest takes mic for this album. Cargo Cult opens with the thunderous Gently as rapid guitar leads are met chunky rhythms and explosive drums while Jest barks and roars like a rabid dog.

One of the feature tracks of the album is Fang & Bone which apparently reflects on social media and the role it has played in shaping the landscape of the internet today, songwise though it doesn't really differ from the previous two tracks (it's the third song on the record) as thick beatdowns are met with guttural roars, as Wretched Ones and Lone Wolf both the propulsive percussion concussion of Iowa's masked sons. The debut from this Stevenage group is ideal if you like out and out noise and it will see them climbing further up the bill, but other than that there's not much to convert someone like me who has always struggled with the genre. Stief may have like the EP but this album in the longer format just tends mean all the songs blur into one long breakdown for me I'm afraid. 6/10

Althea: The Art Of Trees (Sliptrick Records)

Coming from Milan Italy Althea is the culmination of an idea from guitarist Dario Bortot and bassist Fabrizio Zilio they started the band with as a way of developing a free-of-schemes progressive metal/rock. So in layman's terms they are an experimental progressive rock band who dip into the art rock and neo-prog styles. They added bassist Andrea Trapani, drummer Sergio Sampietro and Alessio Accardo on vocals, The Art Of Trees is their second full length album following on from their debut concept piece Memories Have No Name, the music on this second record doesn't rely heavily on long sprawling songs, in fact most of the album is quite contrite, what is more evident is that Althea prefer to make their songs more layered pieces with ambient textures mixing well with melodic rock passages and heavier metal riffage.

It reminds me a lot of the middle section of Porcupine Tree's career with tracks such as Deformed To Frame and the shimmering Evelyn having Steven Wilsonisms all over them. One More Time ramps up the heaviness with down tuned instrumental riffs that swim into thick floating psychedelic lyrical sections, it's experimental yes but never strays into self indulgence, Today has some Dream Theater moments with a Dickinson-like vocals, there's also a little Rush here and there and the guests such as Michele Guaitoli (Visions Of Atlantis, Temperance, Kaledon) adding their own talents to the beautifully crafted songs such as the wonderful The Shade which has a saxophone solo reminiscent of the best Floyd songs. The Art Of Trees is a brilliant record, magically progressive with huge amounts of musical talent on display. There looks to be a lot of prog coming this year but Althea could be very well be one of the best. 9/10

Bus: Never Decide (RidingEasy Records)

Greek riffsters Bus The Unknown Secretary (Bus for short) return with their third full length album, their first on RidingEasy Records. An amalgamation of many types of sound where they mainly make their mark is with music that is unashamedly stuck in a time before metal, they play music that was the precursor to what we call heavy metal from a time when bands such as Blue Cheer, The MC5, Uriah Heep, Alice Cooper Band, Atomic Rooster and Steppenwolf brought the distortion and woozy vocals establishing the chord heavy sounds of doom before it was a thing. Bus sit along with newer acts like Uncle Acid, Ghost, Electric Wizard and the much missed Bigelf here, especially on The Hunt, the sharmaic I Buried Paul and the thundering doom of Lucifer which slides into the manic First Life Suicide before the acid pop-laced Moonchild. Never Decide was recorded in just 5 days in February 2018 by John Vulgaris at Electric Highway Studios in Athens, Greece, you can hear that live urgency on this record, every track is a jam that sounds organic, but after the initial 5 days the album was pieced together by Vulgaris to give it the multi-tracked, stereo effect. Never Decide is a riff driven transportation into the collective psyche of Bus, fly your freak flag high and crank it up loud! 8/10

Devilfire: Out Of The Dark (Self Released)

Out Of The Dark is a fan only release from Birmingham rock band that consists of 4 songs not featured on their debut Dark Manoeuvres. They were released only for those who subscribed to their newsletter after many were asking for a new album, the four songs are reworked, recorded and remixed in house by the band before being drip fed to the audience. There's very little to change to the sound established on the debut, from the opening fire of Bones Don't Break, through the anthemic Act Of God into the heavy percussive Breathe Deep and ending with Lifeless & Vain which has a radio rock feel and some nifty guitar work. Devilfire are Alex Cooper (vocals), Baz Blackett (guitar), Lars Wickett (drums), Jay Downes (bass) & Kieran Topp (guitar) and while you we wait for their follow up full length this EP is a pretty decent way to pass the time. 7/10

Reviews: Imperial Jade, Usurper, Demon Head, Hey Zeus (Matt & Paul H)

Imperial Jade: On The Rise (Aural Music Group) [Matt]

Get those hips ready for a good shaking as Spanish classic rockers are a very rare mix of head swirling psych, hard rock riffage and howling vocals that owes a lot to American genre leaders (and former tour mates) Rival Sons, blast Dance and you'll understand what I mean the echoed vocals, the stop-start Zep-alike riffs it's the sound of 1968 to 1976 as the Summer Of Love transitioned into the glory days of arena rock n roll. The band hail from Barcelona and their music is just as sunny as their Californian brethren mixing styles to great effect, with The Call bringing the funk and fairly bold percussive freak-out in the middle, the soulful Lullaby In Blue is a neat middle section to chill the fire of the other tracks it's very Houses Of The Holy.

With guitars, drums, bass, keys and vocals Imperial Jade are properly analogue old school rock n roll band and on this second album they really show their skills, a track such as Sad For No Reason is a scuttle-buttlin country stomper, Heat Wave an organ drenched rocker while the finale of Struck By Lightning has those head-tripping psychedelic keys to really close the record out in fine style. OK so it does sag a little in the middle but every slow maudlin number explodes into a mass of dirty riffs and hollered vocals making everything all better. An album for those with dancing shoes and a love of the classic rock sounds, while you wait for the new Rival Sons record pick up Imperial Jade rise with them! 8/10

Usurper: Lords Of The Permafrost (Soulseller Records) [Matt]

This one packs a bit of an old school punch. Usurper are supposed 'legends' of the Chicago music scene, returning after 14 year hiatus. This sixth album features a down-tuned style of traditional heavy metal that mixes some black metal blastbeats, thrash riffs and snarled vocals for more extreme take on a well worn genre. Reminding me of the Germanic thrash titans such as Kreator, Sodom and Destruction, Lords Of The Permafrost has a lyrical style dealing with monsters and folklore. A track such as Gargoyle shows this with the absolutely destructive double kicks leading some thrashy riffage and galloping melodic leads.

Skull Splitter kicks off with acoustic intro then actually begins to split your skull. The title track has more of chug and there are also some death metal stomps that also come through on this 8 track record. The production is a little muzzy leaving the vocals quite high in the mix and with the guitars so distorted it's difficult to pick them out. This aside Lords Of The Permafrost is a record to bang your head too thick juicy slices of the more extreme end of thrash. 7/10

Demon Head: Hellfire Ocean Void (Svart Records) [Matt]

Goth rock is probably one of the genres that I can take or leave, some bands such as Type O Negative I love but others really don't do it for me. Danish band Demon Head have brought those days of Gothic rock back to casting it at truly original music, however it's not it's pretty standard Gothic rock. Starting out with the discordant intro Rumours, Hellfire Ocean Void is about as dark and spooky as you can get, echoed production and vocals sit atop dual leads and keys. To the untrained ear you'd think they were jumping on the Ghost bandwagon but for those with heavy eyeliner, fishnet clothing and New Rock boots, the depressive, atmospheric compositions that have swishing guitars and heavy pianos ideal for a dark night smoking by the candlelight. Unfortunately I did find my attention wandering after a few songs as there is only so much wailing and morose music you can take. Still for Goth fans Hellfire Ocean Void will be a most played record. 6/10

Hey Zeus: X (Argonauta Records) [Paul H]

Boston-based Hey Zeus fuse stoner and hard rock with a style that is both classic and modern. X is their debut release and it is a decent listen. Underneath the 29 minutes which comprise this release lurks a punk attitude which surfaces from time to time, adding a primal edge to their short punchy songs. Loitering towards the end of the album is a cover of Deep Purple’s Bloodsucker, from the In Rock album, a thick chunky version which doesn’t bring anything new to the table but is a pleasing version all the same.  Hard riffs, driving fast paced rock n’ roll and soaring vocals are all here in an album that suggests Hey Zeus may well be able to climb Olympus soon. A healthy start. 6/10

Reviews: John Garcia, Soilwork, Relics Of Humanity, Herod (Paul S & Sean)

John Garcia: John Garcia And The Band Of Gold (Napalm Records) [Paul S]

John Garcia of Kyuss, Slo Burn, Unida and Vista Chino is back. 2 years after The Coyote Who Spoke In Tongues, Garcia now releases the third album to carry his name. John is joined by Ehren Groban on guitar, Mike Pygmie on Bass and Greg Saenz on drums. So what they served up for us this time? Well the album contains 11 tracks of what would most accurately be called stoner rock.

The album kicks off with an instrumental intro called Space Veto, which starts with relaxed riffing before the final third where a much faster, fantastic riff kicks in and gets the album underway really well. Next up is Jim’s Whiskers which is a cracking piece of desert rock, with a great chorus (which reminds me a little of Overdose by AC/DC). The track gets a kick in the pants with a nice fast ending. Chicken Delight is a more measured song, it’s quieter than the 2 tracks that come before it, with a slightly looser feel. The slightly more controlled feel continues with Kentucky II. The track has a slight Hendrix sense to it, it also has a fantastic chorus. My Everything is a lovely song. Although it has distorted guitars and bass, the song has the feel of a ballad, it’s slower than most of the other material, and John Garcia really excels himself on lead vocals. John vocals are as good as you’d expect, all over the album, but his vocal delivery makes this track. The end of the song has some nice guitar harmonies that are quite reminiscent of Queen.

Lillian is a taught rocker of a track, driving riffs and rhythms keep the track pushing forward before an awesome chorus (this album specialises in great choruses!). Popcorn (Hit Me When You Can) sounds like it was recorded in 1968, it’s a great bit of psychedelic rock, with a great central riff, the song is massively energetic ( I would refer to this as a high point for the album, but this is an album that is full of high points). The tempo is kept up by Apache Junction, powering the album along. Don’t Even Think About It is a fantastic mid-paced track. The opening riff is relaxed but beautifully tuneful and melodic. Cheyletiella the longest track on the album, has a fairly simple main riff, but it keeps the track driving along in an incredibly enjoyable way. The song gets faster at the end and has a really good chorus. Final Track Softer Side is a beautifully relaxed and luxuriant way to end the album.

As the title suggests, this is John and friends in a softer moment, the track does get bigger and more strummy as it goes along, but retains that relaxed feel right to the end of the album. This wasn’t an easy album to make, there were lots of issues with equipment and studios. John Garcia has stated in some of the music press that this will be the last album he will performs on. I hope that this isn’t true, I hope after a little time to reflect he’ll be back in a recording studio, lending his fantastic voice to more great music. But if this is the last album he contributes to, at least he’s going out on a great album. John Garcia And The Band Of Gold is a cracking hard rock album. It’s quite a simple thing, it’s a collection of great songs, played and sung really well. I’ve really enjoyed listening to this album, I think it’s likely to be on heavy rotation in my flat for the next few months. 8/10

Soilwork: Verkligheten (Nuclear Blast) [Sean]

Managing to mostly avoid the stomach churning saccharinity of their American contemporaries, Soilwork have consistently shown jaded kvltists such as myself just how good their brand of “modern” metal can be. Sure, they may use the normally vomit inducing genre tropes; palm muting, the ol’ the good cop/bad cop vocal delivery and ham-fisted “uplifting” chorus, but it’s been done with an authenticity that their fringed imitators have failed to replicate. Though not without the odd stumble, I think it’s safe to say that since releasing the excellent The Living Infinite, the long running Swedish minstrels of melodic death have been experiencing something of a renaissance. Having rediscovered the fury of yore, Soilwork’s current form is what can only be described as an amalgamation. A synthesis of their deathly beginnings, more recent “corish” leanings and an increasing desire to experiment beyond their own borders. Thus we come to 11th album, Verkligheten. Have they once again achieved perfect synergy?

After the intro of title track Verkligheten, Arrival bursts into life in an explosion of blast beats, giving way to staccato riffs and Bjorn Strid’s instantly recognisable roar. An absolute belter of an opener, showing the harmonious marriage between the extremity of old and the melody of new. Neither element undermines the other, a sound remind of Soilworks compositional might stomper Bleeder Despoiler is another example of top shelf Soilwork, complimenting the earlier onslaught with a more measured pace. The Nurturing Glance has a more playful nature, embracing some traditional meta riffs interspersed with the Swedes trademark modern crunch. Stålfågel combines all the best bits from their middle era, into into a solid sing song of anthem power. Needs And Kin is another heavy hitter, bolstered by the appearance of Amorphis’ own Toms Joutsen. On the whole, this is everything you could want and then some! Which makes this next bit all the more difficult to express.

Despite the strength of the after mention songs and for every peak, there is a trough and Verkligheten contains a fair few. Full Moon Shoals is generic mid paced mundanity, When The Universe Spoke starts with enough bravado, but rapidly loses steam the longer the song progresses. The Wolves Are Back In Town and closer You Aquiver just don’t grab me in the slightest, both being content to simply occupy space on the CD it was burnt onto. A shame really, as there are some truly ripping solo’s contained contained on both. All moaning aside, it’s doesn’t diminish Verkligheten’s power too much. Whilst it may not be the smoothest of rides, there is more than enough infectious killer to downplay the fumbling filler. All in all, a solid outing sure to please old bloods and new neophytes. 7/10

Relics Of Humanity: Obscuration (Willowtip Inc) [Sean]

That’s a nice cover, wonder what music this Seagrave illustrated EP will contain? It’s definitely death metal, this is Dan Seagrave we’re one about but what kind? Either one or two things, perhaps something of the techy variety but there’s no purple so it can’t be that. Mayhaps something of the more “brootal” variety? Barely legible logo? Check. Pingy as fuck snare? Check. Inhumanly low gutturals? You bet your sweet keister. Belarusian bruisers, Relics Of Humanity, play brutal death metal with a capital B, bro! Featuring current/former members of Disgorge, Defeated Sanity and featuring Suffocation’s (love react) Derek Boyer as guest on bass, EP Obscuration, according to the band themselves, “lifts death metal to a higher level of intensity, atmosphere and brutality.” Steady boys, I haven’t pressed play yet.

As intro Retson Retap moves into Ana Kihu Alamu, shit comes out ripping and tearing with all the subtly of a sledgehammer to the dick. All the typical elements of BDM are present, utterly disgusting vocals, non stop blasting and thick as fuck riffs at ridiculously low tuning. You know the drill, though as to what “atmosphere” the band were hinting at is nowhere to be seen. Surely that’s the very antithesis to this sort of thing? Third track, When Darkness Consumes God’s Throne continues in more or less the same fashion though suddenly slows to a predictable pit inducing crawl. Whipping The Curse briefly displays some variation, a closing melodic passage finally allowing some breathing space. I’ll spare you details on the other two, as they more or less carry on in a similar fashion of blasting, tempo changes and chugging. BROOTAL!

Imma be honest, aside from a few bands most “brutal” or “slamming” death metal bores the shit out of me. Once you get the hang of it’s initially impressive auditory assault, it often becomes a monotonous affair. Being loud at a breakneck pace is good and all that but what else yah got? I enjoy my grind and war metal for the ear shattering decibels and ridiculous tempos. Why? Coz it’s intense as fuck and BDM often comes off as aimless, unimaginative and rather forgettable in comparison. Thankfully, Relic Of Humanity mostly avoid my ire, as there were a few times that my foot got a’tapping and my neck muscles got a’bobbing. Hell, I even started to somewhat enjoy the single minded tenacity of it all. At any rate, it ain’t going to stand out from the camo-shorted crowd, as it still falls into the same stylistic stumbling blocks one would expect. But if you’re down with this sort thing and firmly wear your snapback in reverse, then Obscuration should keep you entertained long enough until the next update on Slam Worldwide. The vocals were pretty fucking sick, though. 6/10

Herod: Sombre Dessein (Pelagic Records) [Paul S]

Herod are a 4 piece from Switzerland, Sombre Dessein is the band's second album coming 5 years after their debut They Were None. I have seen the band described as sludge, but to me this sounds like Meshuggah style progressive metal. The band are definitely more interested in polyrhythms than they are about huge fat riffs. After a short intro the album kicks off with the track Fork Tongue. The song sets a bit of a template for the album, being a mix of big, very staccato riffs, and softer parts that are mainly vocals and drums, but with some subtle guitar and bass parts. The riffs on offer are far more about rhythm and polyrhythm rather than complexity or syncopation. Second track Reckoning takes the rhythmic aspect even further, in fact some of the riffs on offer here are just basic chugging of one chord, which fits the Meshuggah feel, but does also make it sound a little like Nu-metal simplicity.

Next up is Don’t Speak Last, the longest and most complex song on the album. The track does have the same structure as the rest of the album, but on Don’t Speak Last the soft and hard parts feel like they are building towards the huge ending of the track. This allows the track to have more dynamics than the rest of the album. Silent Truth has a dense opening riff, which again is juxtapositioned with softer more brooding sections. Mourning Grounds has a similar style and structure as the rest of the songs on here, but this time it starts to feel lacklustre, the staccato riffs are just too simple and the effect ends up being simplistic and plodding. Final track There Will Be Gods has a slow and quiet buildup that is brooding and builds to a huge ending, it’s a strong track and a good way to end the album.

Sombre Dessein is an interesting album, I do think that this might be an album that splits people. If you like the sort of polyrhythms they are offering then you will probably really like the album, if you like your metal to be more syncopated and to flow more then you probably won’t. Definitely one for Meshuggah fans. 7/10

Reviews: Corroded, Endolith, Obey, Ithaca (Paul H)

Corroded: Bitter (Despotz Records)

2017’s Defcon Zero from these Swedes was a solid enough affair but there was a background of angst which resulted from a five year wait to release tracks that had been crafted shortly after previous release Exit To Transfer. Having changed labels to Despotz Records, there was obviously some pressure on Corroded. Channelling this into creativity is not easy but Corroded have focused well and produced in Bitter an album that really works. Slicing razor sharp riffs combine with a fat melody and the right amount of passion and power, blood and spit. 

Vocalist and rhythm guitarist Jens Westin’s gravel throated vocals are perfect for the ballsy stomping songs whilst the rest of the band, lead guitarist Tomas Andersson, bassist Bjarne Elvsgård and drummer Per Soläng give it everything. The twin guitar attack provides a thicker assault than might have otherwise been expected and vicious tracks such as Breathing, Testament and Cross all help the sinews to twitch. I think it’s reasonable to compare Corroded’s slightly commercial edge to Godsmack, Sevendust and the like but with an additional layer of depth and brutality usually missing from the lighter weight of the Americans. 7/10

Endolith: Chicxulub - The Fossil Record (Rob Mules Records)

Here we have a concept album based on the extinction of the dinosaurs and the similar position the world finds itself facing today; the imminent arrival of chaos and global change. Balance to this bleak and dark picture is provided by the uplifting strings of the Arctic Philharmonic Chamber Orchestra who add panache and sophistication throughout the album. The opening piece is purely classical in content, Grazing Herbivores reminiscent of Stravinsky’s The Rite Of Spring in the 1940 Disney movie Fantasia. But don’t worry, this isn’t a takeover by Mickey and Donald, oh no sir; after that gentle opening it’s time to hit the throttle with full firepower locked and loaded. The ferocity of Bloodfiends leaves scars; Nest Scraping Display changes both time and pace at numerous intervals, its scorching speed only enhanced by the harmonies that litter the track. 

This Norwegian trio make a fabulous noise and have a swagger that impresses. Their organic sound noticeable as the album develops. For those who are unaware, Chicxulub is the site in Yucatán Peninsula in Mexico, where the asteroid that is thought to have been the cause of mass extinction over 66 million years ago. A neat mixture of both guttural and clean vocals, a thick smothering sound combining numerous styles, varying and unusual meters and the opportunity to craft the strings of the Chamber Orchestra allow each song to stand both alone and knit tightly as part of the overall concept. The cranial splitting Icthyus is juxtaposed with the traumatic Diseasons, before the ten-minute Chicxulub leads to the finale of Earth Lies Screaming, a complete change of style and mood to close. Endolith are Frode Hofsøy (vocals), Erling Malm (guitars) and Roger Tunheim Jakobsen (drums). This is a fine album worthy of a listen. 8/10

Obey: Swallow The Sun (Self Released)

Obey hail from the Midlands and have been plying their thumping progressive doom since 2008. They have an impressive biography, winning 2011's Surface Festival, 2012’s Marshall's Best Guitarist and 2015's Metal To The Masses, playing at The Millenium Dome, The Koko, The Roundhouse, O2 Birmingham, Sziget Festival and Bloodstock. Obey have released 3 full length albums: New Day Rising (2009), Doom Laden (2012), Maelstrom (2016). The current lineup features Steve Pickin, Dan Ryder and Ryan Gillespie. For a three-piece I’m very impressed with their style and sound, layered intricate passages full of depth combined with jagged riffage and unexpected time changes.

Swallow The Sun touches on many things, but overall it is a sonic journey dealing with the cruelty of dementia and the devastation it leaves, melding that together with themes of fantasy and folklore. An interesting take on subject matter that is challenging and emotionally charged. Whilst the band may favour some of the more progressive metal elements (hints of Mastodon and Meshuggah linger) on tracks such as Swallow The Sun the riffs are a lot closer to home, the Sabbath influence plain to hear. There is a burning originality which made listening to this album a real joy. Thundering bass and drumming with reverberating guitar work and vocals that rasp but are also crisp and clean. Oodles of melody underpin but don’t dominate and there is enough brutality here to ensure that the heaviness remains at the heart of all the band deliver. 7/10

Ithaca: The Language Of Injury (Holy Roar Records)

London hardcore newcomers Ithaca roar into 2019 with their debut LP The Language Of Injury. The five-piece were formed in 2012 and share a mutual love of metallic hardcore. I think it’s fair to say that is where our commonality ceases. To be fair to the band, they draw on a huge range of influences, starting with Southern doom to 90s math rock as well as the untethered savagery of early Poison The Well and melodious battery of Oathbreaker. 

They possess grooves that crush you with all the subtlety of a sledgehammer through a brick wall and combine these with shrieking guitar squalls which segue into haunting melodic passages, all with an emotionally raw lyrical content. Powerful, aggressive and angry, hardcore will never win me over as a fan but if you fancy something with enough power to give an elephant a headache then 32 minutes of intensity will probably be an attractive proposition. 6/10

Reviews: Electric Mary, Dead Witches, Herman Frank, Deever (Matt & Paul H)

Electric Mary: Mother (Listenable Records) [Matt]

10 years, 3 studio albums, 3 EP's and 1 live album and Australian rockers Electric Mary have just about broken onto the UK rock scene delivering the live show they are famous for Down Under. It's the show that has seen them support Whitesnake, Judas Priest, Kiss, Alice Cooper, Motorhead and Def Leppard while they've played in the country and it's their albums that have fuelled that creative fire meaning they have new tracks to play every time. Their previous release III was sort of their 'big break' over here heavily touting them as one of the bands to watch in the hard rock arena and it secured them a tour and shows at Hard Rock Hell exposing them to a whole new audience. So now it's time for their fourth slab of rocking in the shape of new album Mother released once again through Listenable records, it's a record full of hip shaking, fist pounding, hair raising rock n roll performed like it's the 1970's all over again. With the psych leanings of Hendrix, the foot stomping of Free and big handful of Led Zeppelin, Mother is a shining example of proper rock music. With the Thunder-like riff of Gimme Love, the bluesy saunter of How Do You Do It, the thumping Hold On To What You Got, the desert psych of Long Long Day and the Zep-alike of Woman. Australian rock conjures dirty beer bars, Electric Mary are built for arenas. 8/10

Dead Witches: The Final Exorcism (Heavy Psych Sounds) [Matt]

Since the debut Dead Witches album Ouija in 2017 they have undergone a lineup change as founding guitarist Greg Elk died shortly after the debut so here the riffs are handled by Grave Lines' Oliver Hill while upfront Virginia Morti has exited the group to continue with Psychedelic Witchcraft, the wails and incantations are now taken by Soozi Chameleone whose voice casts a spell over the discordant rhythms from Carl Geary (bass) and founding member Mark Greening (drums).

It's hazy, slow bludgeoning occult doom drawn from a dark place as the majority of songs here have elongated run times which means that tracks such as Goddess Of The Night can sprawl into feedback driven outro and The Church By The Sea can ramp up the Sabbath worship to new levels with the reverebed repetition as Soozi snarls leading into the down-tuned sludge of Lay Demon. There's nothing too different here from the debut, but when a band is formed by former drummer of Electric Wizard you'd expect the type of dissonant, weighty doom metal that The Final Exorcism has in spades. 2019 has only just begun and they heavy has already hit a highpoint. 8/10
 

Herman Frank: Fight The Fear (AFM Records) [Paul H]

I called Frank’s last album The Devil Rides Out “average heavy metal by numbers”. Unsurprisingly, the former Accept axeman was undeterred by my score of 6 and has only gone ahead and recorded another solo album, Fight The Fear. It’s another lengthy piece of work, and at 64 minutes it’s quite a challenge. I’ve played it three times and whilst the music is the typical heavy metal which we have come to expect from Frank, it just doesn’t have any longevity in the memory. Possibly the stand out track on this release is Hail & Row, which is mainly because it changes and slows pace, with a moody feel and some reasonable vocals from Rick Altzi. Other than that, this is fare which won’t change the world, but stuff that large swathes of mainland Europe will love. Tracks like Hitman, Rock You and Sinners all sound exactly as you’d expect. It’s Accept-lite, perfectly reasonable and Frank delivers some choice guitar work. It’s just one of those albums that is unlikely to excite you. 6/10

Deever: You Need This (Self Released) [Matt]

While his former bandmate spouts off on YouTube making a complete ass of himself former Inglorious guitar player Wil 'Billy' Taylor has set about bringing together another band with a shared vision that is far away from the Whitesnake-lite of Inglorious. Along with himself as frontman he has recruited bassist Phil Appleton, drummer Higgy and guitarist Stevie Stoker to form Deever (which may be a dig at the leonine previous frontman) a much more contemporary styled band with influence coming from Shinedown, Foo Fighters as it moves between hard rock, metal and even punk, from the big grooves of Fire At Will, to the bass heavy All Come Running they've got a grunge tinge for Back Down and their feet firmly in the alt-rock camp for Parachute. Like I said it's a very modern rock record and the band have pumped everything into it both emotionally and financially however I'm not so keen on Taylor's vocals finding them a little weak at times, only when he's got the rawness on Only Enemy did I find myself liking them. To call an album You Need This is a little presumptuous but there is musical muscularity here and hooks for days however it's just not really my taste I'm afraid. 6/10    

Reviews: Lahmia, Archangel A.D, Woven Man, Dimension Eleven (Paul H & Rich)

Lahmia: Resilience (Scarlet Records) [Paul H]

Stepping rapidly into the mire of new releases for 2019, this one caught both the eye and the ear. Resilience is the latest release from a five-piece who formed in Rome back in 2001 but who took an age to get their debut album released in 2014. Into The Abyss was produced by Jens Bogren and whilst I haven’t heard it the man rarely backs a loser. Resilience may be the band’s sophomore release, but it is delivered with the conviction and confidence of a band who have many years’ experience under their belts. It’s evidence from the opening minutes of Elegy For A Dying Sun that the band favour the melodic death metal sound of the Swedish scene, with influences of Amon Amarth, In Flames and Arch Enemy alongside other Northern European powerhouses such as Children Of Bodom also noticeable in the band’s work.

Francesco Amerise delivers a vocal roar that is comparable with Johan Hegg, whilst the twin guitar work of Matthias Habib and Flavio Giannello (who also plays some impressive lead work) is solid throughout. With standout track the 11-and-a-half-minute epic The Age Of Treason pitched towards the end of the album, the only challenge is to maintain enough interest in music that on occasion is just a little routine and formulaic. However, with some thundering tracks hidden amongst this release, I certainly wouldn’t tell you to avoid it. In fact, this is worth a listen, particularly if you like those bands who sport Viking tendencies. 6/10

Archangel A.D: Warband (Horsemen Records) [Rich]

Archangel A.D. are another band determined to keep thrash metal alive and well in the 21st century and with their self-released debut EP Warband they prove that there is still room for more thrash in the world. Throughout its six song duration Warband is a nice encapsulation of all that is great about old school thrash metal from the chunky opener Unto The Evil, the speed metal madness of Blightning, the more classic metal inspired title track, the slow and brooding Evil Dreams and the genre celebrating Metal Horde. The only dud on the EP is the instrumental Enter The Temple which whilst not terrible doesn’t really go anywhere. The band pay homage to their influences with definite nods to bands such as Metallica, Testament, Megadeth and Slayer and whilst they don’t do anything new with the genre they just do it really well and when thrash is done well like this I’m drawn to it like a moth to a flame. This is a great debut EP by a bunch of thrashers playing the music they love and having a great deal of fun whilst doing so. 8/10

Woven Man: Revelry: In Our Arms (Undergroove Records) [Paul H]

An opening banjo solo belies the fact that an absolute ball crushing riff is about to hit you like a freight train about a minute into Calling Down The Leaves. In fact, this riff is as chunky as any knitwear that Pep Guardiola could sport in the depths of Mancunian winter. These boyos (who include Lifer six stringer Lee Roy Davies in their ranks) maybe from way down West (Wales), where men are men and women are orange, but their music is homeless in both state and form and that’s a bloody good thing; five behemoth tracks that lumber into view, raise the horns, swagger around with infectious stoner and doom riddled beats and then amble back into the bushes leaving you scratching your arse about what you’ve just heard. With elements of Down, Crowbar, Screaming Trees and Soundgarden amongst a veritable smorgasbord of influences all audible, even to the untrained ear, this is one impressive mutha which deserves to kick your rear as soon as possible. Just the thing to shake off the Christmas hangover. 7/10

Dimension Eleven: The Transcendental Journey (Self Released) [Rich]

Dimension Eleven are a Polish progressive metal band with The Transcendental Journey being the bands self-released debut EP. There are some fantastic progressive rock and metal bands from Poland but unfortunately Dimension Eleven are not yet one of them. They definitely have potential but it’s sadly not realised on this EP. For a seven song EP just shy of 33 minutes in duration you have an instrumental intro track as well as two instrumental interludes which are just a complete waste of time adding nothing to the EP at all. This leaves only four actual songs and none of them are particularly worth writing home about. The worst is Stardust which literally goes nowhere and does nothing with bland riffs, bland vocals and bland melodies which all just scream meh. 

There is improvement on each track hereon with some nice piano melodies on Superreality, some cool riffing on Divine and finally some interesting songwriting and less than tedious vocals on Point Of No Return: Pt. 1 (Far From Beyond Eternal Depths) which is definitely the best of a bad bunch. Unfortunately the improvements as the EP progresses are not enough to save it from mediocrity and The Transcendental Journey is just a very dull and tedious listen. There’s definite potential but the band need to learn how to craft some interesting songs first. 3/10

Reviews: Malevolent Creation, Legion Of The Damned, Mark Deutrom, Wolf Counsel (Paul H)

Malevolent Creation: 13th Beast (Century Media)

Last August I reviewed the re-release of The Ten Commandments, the blistering 1991 debut from Buffalo’s Malevolent Creation. A throwback to a time when the band had relocated to Florida and were a massively important band in the whole death metal movement which was mushrooming at that time. The likes of Death, Deicide, Suffocation, Immolation and Obituary were firing on all cylinders and it remains as brutally impressive today as it did back then. The original line up on that album didn’t stay together for long and over the years the band has had numerous line up changes, with only Phil Fasciana a constant throughout. In July 2018 original vocalist Brett Hoffman passed away at the outrageously young age of 51 due to colon cancer. Hoffman had been back in the band for 12 years, returning in time for Doomsday X and closing his recording time with the band in 2015 on Dead Man’s Path.

Hoffman’s unreplaceable vocal style is impossible to replace, but co-founder Phil Fasciana decided to face the challenge to continue the band and affirm the truth behind the lyric that “Nothing can kill this Malevolent Creation.” Having regrouped, Malevolent Creation return in 2019 with The 13th Beast, which introduces a new line up consisting of P.M. Cancilla (drums), Josh Gibbs (bass), Phil Fasciana (guitars) and vocalist/guitarist Lee Wollenschlaeger (Throne Of Nails, Imperial Empire). For Wollenschlaeger this is one hell of a gig. “This is the biggest honour I could ever be given; The opportunity to front one of my all-time favourite bands, and an even bigger pleasure of jamming with such great people. We have created one of the most relentless albums of Malevolent Creation’s history.” For Fasciana this is the conclusion of another puzzle in the band’s continued movement. “Lee was the missing link when I was searching for a new vocalist and guitarist”, he said. “Each new member is a solid musician and songwriter sharing the same passion for extreme music, Malevolent Creation has been striving for since 1987.”

Malevolent Creation’s thirteenth studio album expands upon Dead Man’s Path but retains the brutality of albums such as The Will To Kill and Eternal. With Wollenschlaeger’s understandable yet deeper vocal tone and song writing contributions, not to mention some lacerating lead guitar work, The 13th Beast is one viciously intense album. Song titles remain as visceral as ever; Mandatory Butchery, Canvas Of Flesh and Knife At Hand slash and tear. Cancilla’s drumming is immense; machine-gun rapid-fire blasts that rarely pause for breath, even though the listener will want to. Agony For the Chosen rips and claws, whilst the battery is relentless, especially Decimated, an insane pulsating fireball that injects a blast of melody before roaring again. It’s punishing just to listen to this. By the time the final track, the brooding Release The Soul kicks into the killer finish with a quite blistering assault, there should be little left to scoop up off the floor. 49 minutes, 11 tracks and quite possibly one of the best death metal albums I’ve heard for some time. It must have been a challenging decision to continue the band but in the words of Hoffman, “Nothing can kill this Malevolent Creation”. 9/10

Legion Of The Damned: Slaves Of The Shadow Realm (Napalm Records)

It’s been five years since the Dutch thrash brutes Legion Of The Damned hit us with Ravenous Plague. The Dutch outfit now kick a hole through the door of 2019 with album number seven, and as their press release states, ‘this is a band that'll break your neck from the sheer force of their music’. Slaves Of The Shadow Realm starts in blistering style, with Widow’s Breed merging thrash and death metal into one boiling cesspit of howling carnage, and from here on in its grappling time as things get gnarly. Lacerating riffs don’t so much drip as shower you, slashing and driving relentlessly.

With fifth band member / producer Andy Classen once again on board this album is a furious trip to the early LOTD sound but with a modern edge that cuts mercilessly. The veteran status of the band may not be in doubt, but they have a power and youthful energy that belies their status. Thunderous tracks such as the old school raging of Nocturnal Commando sit comfortably alongside the malevolence of Charnel Confession whilst Slaves Of The Southern Cross and Shadow Realm of the Demonic Mind contains the groove and ferocity of earlier classics. This may be missing the legendary cheese block of 2007 but otherwise this is a band that is as punchy as a well matured Gouda. A monstrous and welcome return. 8/10

Mark Deutrom: Blue Bird (Season Of Mist)

Mark Deutrom is a guitarist, composer, songwriter, and sound engineer who produced and joined The Melvins as bass player between 1993 and 1998, contributing to albums Prick, Stoner Witch, Stag, Honky amongst others. He also co-founded Alchemy Records, which released the debut album Pain Of Mind by Neurosis and who he also produced. He has also collaborated with Sunn O))) on various live dates and released various solo projects as well as continuing to produce. A multi-instrumentalist, Blue Bird is a new release which follows re-releases of some of his earlier solo works. 

Broad in scope and varied in style, Blue Bird is hauntingly paced, measured and yet at times urgent, with a retrospective style which echoes bands from the 70s to 90s whilst also adding a modern vibe. Hell Is A City should be the soundtrack to a late-night thriller series; Somnambulist echoes with modernity and O Ye Of Little Faith has shades of Kyuss’ style desert rock. This isn’t an easy listen but the music that is wrapped up within these 44 minutes is intelligent, stylish and provoking. If you want to challenge yourself to step outside of the comfort zone, this is an album which you should seriously consider. 7/10

Wolf Counsel: Destination Void (Endless Winter Records)

This is an album I want played at my funeral, such is its grandeur and power. Wolf Counsel emerged from underneath the snow and ice in 2014; two veteran musicians merged their enthusiasm for monumental low-tuned music and a great appreciation of heavy riffs into a new band. With three albums already under their belt you could call them prodigious. With each previous album featuring seven songs, there was opportunity to hear their evolution as they covered the diverse scope of classic doom metal. With the band having written their fourth full-length within four months, Destination Void once again consists of seven new tracks that once more follow the path of classic and epic doom metal. 

With a sound that sways from Candlemass to Cathedral, this intense beast is loaded with haunting harmonies, sonic interludes and diversified arrangements. With the two opening megalodons, the throbbing Nazarene and the deep vibrations of Nova leading to a total of 48 minutes of concrete shattering slow doom. Switzerland hasn’t felt such a tremor in the force since one Thomas Gabriel Fischer emerged blinking into the dying sunlight. Bone crushingly heavy, I need painkillers to ease the headache after the title track alone. Wolf Counsel is Ralf Winzer Garcia on bass and vocals, drummer Reto Crola, Andre Mathieu on guitar and guitarist Ralph Huber. 8/10

Reviews: Mastiff, Lumbar, Hollow Leg, Mo'ynoq (Paul H, Paul S & Rich)

Mastiff: Plague (APF Records) [Paul S]

Mastiff are a 5 piece from Hull, who, according to their Facebook page, play hardcore, doom and sludge. Mastiff are clearly a band who do not indulge in false advertising as that is a perfect description of what is on offer on Plague. After a dissonant intro, first track Hellcircle kicks the album off with fast, simple hardcore. The song slows down for the final third and is crushingly heavy. Next track Bubonic is a fantastically nasty piece of sludge. The riffs drip with tri-tones, the track has a feel that I associate with Autopsy’s slower, more putrid material, maybe a little of Bolt Throwers slow and nasty as well. Brainbleed is only one minute twenty seconds, but manages to have an insanely fast hardcore part, and a sickeningly slow and heavy ending. Next we slow it down again for Quarantine, which has a huge groove laden feel, it’s impossible to not bang your head to this one; I tried keeping my head still and damn near broke my neck. Vermin is another mainly slow track, which has an aggressive, driving rhythm. The song is as unstoppable as continental drift, feels like a runaway bulldozer. 

Torture follows the fast aggressive intro, going into a sickeningly slow ending pattern that has been used on a few tracks, however the slow part isn’t as smooth as the rest of the slow material, the riffs stagger and stumble, before coming together for an incredibly powerful ending. This gives the song an interesting rhythmic style that makes the track stand out. Weep batters the listener before descending into lurching, dissonant riffs. This is a decidedly nasty piece of work. The album ends with Black Death, one of the heaviest pieces of doom/sludge that I have ever heard, achingly slow and heavy. The final track finishes off the listener by slowly pounding them into the ground. This track is monolithically huge, and heavier than a neutron star, I have genuinely not heard anything quite as heavy as this; in fact, if anyone ever asks you for a definition of what ‘Heavy’ is as a word to describe music, just play them this song. 

Plague is a fantastic album. Intense, aggressive, pounding, huge and furiously angry. The mix of fast and crushingly slow works very well, mainly because the intensity and anger does not diminish when the songs slow down, if anything it only makes the songs more intense. This album is almost certainly going to be in all the Best of the year lists in 11 months time. 9/10

Lumbar: The First And Last Days Of Unwelcome (Argonauta Records 2019 Re-Release) [Paul S]

Lumbar is (or maybe I should say was, as this is a re-release, The First And Last Days Of Unwelcome was originally released in 2013) Aaron Edge (Bible Black Tyrant, Ramprasad, Iamthethorn, Brothers Of The Sonic Cloth and so many other bands I couldn’t possibly type them all out), Tad Doyle (Tad, Brothers Of The Sonic Cloth) and Mike Scheidt (Yob, Middian, Vhol). This album couldn’t have been an easy thing to record, considering the circumstances of when it was recorded. Multi-instrumentalist Aaron Edge had just been diagnosed with Multiple Sclerosis (the band name Lumbar, comes from Edge having to have 3 Lumbar punctures in order for a diagnosis to be made), and was not sure if he was going to be able to keep on making music (happily he has been able to continue his career in music, and has a number of projects on the go at the moment). However, whilst this album was being made that fact was not yet apparent. The album has 7 songs, titled Day 1, Day 2 etc. 

The main style on the album is sludgy doom, with some interesting experimental parts. Day 1 starts with a sample from The Twilight Zone before crashing into some massive doom metal that is a little reminiscent of Electric Wizard, Ufomammut or possibly a little of Lee Dorian's current doom project With The Dead. Mike Scheidt’s very recognisable howl, cuts through the dense de-tuned riffs, the song sounds as if it is in pain, in places the track has layered vocals that seem to emphasise this. Day 2 is slow and lurching, the 2 vocals feel angry rather than in pain. I should point out that this is also a short track, coming in at less than 3 minutes. In fact. 4 out of the 7 songs on The First And Last Days Of Unwelcome are less than 3 minutes long (Days 2,3,4,5). Day 3 is an experimental track that is guitar and bass fragments looped, with shouted vocals and no drums or beat of any kind. Day 4 is short and angry. The drums are at the fore for this track, in places it is just drums and vocals. The song has a very heavy ending with nasty guttural vocals. 

Day 5 is another experimental track, it feels droney and dreamlike, with whispered vocals. Day 6 is another aggressive doom track, slow, but with a driving rhythm, and very distinctive vocals from Mike Scheidt. Day 7 draws the album to a close with a melancholy, but still dense and aggressive piece of doom. There is a similarity with the first track. The ending of Day 7 is drawn out and slow, dissonant chords getting slower and more diffident until the track fades out. The First And Last Days Of Unwelcome is a great album, born out of difficult circumstances. Although it isn’t very long (the whole album comes in at 25 minutes), it is a very interesting beast, with depth and great songwriting. I’m very glad that Aaron Edge has been able to continue to make music, as more of this may be a possibility. Highly recommended! 8/10

Hollow Leg: Civilizations (Argonauata Records) [Paul H]

Civilizations is album number four from Florida sludge outfit Hollow Leg. Hollow Leg are not a band I have heard previously but with sludge seemingly being the ‘in thing’ in metal these days there are bands popping out of the woodwork all over the place and it’s hard to keep up. Hollow Leg play a very run of the mill style of sludge metal which means they don’t really stand out too much. They sound is also quite relaxed in comparison to the heavyweights of the genre with Hollow Leg relying more on atmosphere than sonic devastation. This does mean that this album is fairly forgettable as I like my sludge crushing, devastating and utterly filthy. There are some very nice riffs and grooves through Civilizations but beyond that it’s very much sludge by the numbers. It’s nice background music but there are bands doing what Hollow Leg do far better. Not a bad album just a fairly uninspired one. 6/10

Mo’ynoq: Dreaming In A Dead Language (Self Released) [Rich]

Mo’ynoq impress with Dreaming In A Dead Language which is the debut album by the North Carolina black metallers. Black metal can be a very difficult subgenre and Mo’ynoq have crafted an album that definitely requires multiple listens to fully get your head around. It’s an extremely ferocious album full of discord, dissonance and labyrinthine song structures. It deftly balances the chaotic and atmospheric natures of black metal with songs that envelop and suffocate your senses. 

Melodic moments are few and far between but when they appear you have enough time to gasp for air before once more plunging into the suffocating darkness. This approach is most effective in songs such as These Once Tranquil Grounds, Carve My Name and ferocious opener Empyreal Decay. Dreaming In A Dead Language is not an easy album to get into but it’s one that’s definitely worthwhile once you’re there and Mo’ynoq prove themselves to be a worthy addition to the flourishing US black metal scene. 8/10

Reviews: Gin Annie, Festerday, Fusion Bomb, Emerald Sabbath (Reviews By Paul H)

Gin Annie: 100% Proof (Off Your Rocka Records)

With over 6500 likes on Facebook and half a decade already under their belt as a band, Wolverhampton hard rockers Gin Annie finally get their debut release out to their increasing fan club. I saw these guys support Graham Bonnet in Pontypridd last year and they gave a reasonable show (although Bonnet was ropey to be honest and the night was stolen by Doomsday Outlaw). Full of energy and bursting with confidence, the band are another in the new wave of British classic rock alongside a plethora of bands like Those Damn Crows and Federal Charm who pushed through in 2018.

Vocalist Dave Foster and guitarist Byron Garbett, who are cousins form the nucleus of the band, now completed by guitarist Brian Green, Phil Burrows on bass and drummer Jack Ryland Smith. Their music hits a certain market, and whilst there is nothing which gets me excited here it’s a competent performance from a band that may well take some large strides in 2019 towards those events which seem to be everywhere; such as the Planet Rock sponsored Rockstock, Winters End and Steelhouse Festival. It’s certainly well played, with Foster giving a solid vocal performance throughout and Garbett’s lead work neat and tidy. Tracks such as the single Chains, Next 2 Me and Damage Is Done are all ear worms which get the foot tapping. Fitting into an already crowded market, Gin Annie may well push their way towards the front of the pile. 7/10

Festerday: Iihtallan (Seasons Of Mist)

The two-track bludgeoning from the Finnish underground cult death metallers which hit late in 2018 was the perfect precursor for this long-awaited full-length debut. The two tracks contained in that release, The One Who Strangles Stars And Suns and Let The Sun Vomit Its Beams Upon Your Cold Swollen Skin were uncompromising, and I said at the time were ‘fused with raging punk anger and massive slashing riffs’. Well, the full-length monster continues in the same vein, but with an underlying melody which is surprising at times given the ferocity of the EP. Don’t get me wrong, this is no love song-soaked release, and it is still as brutal as the taster menu was. Tracks such as Edible Excrement, Vomiting Pestilence and Into The Void, with its doom laden feel, are as relentless as you would expect; the ferocity of the band obvious within the chaos that is unleashed. Powerful, crushing and with the duel guitar work of Timo Kontio and Teemu Saari razor sharp, Iihtallan is an uncompromising slab of death metal which merges the old school sound with punk fuelled aggression and the imperiousness of quality black metal. A nasty, snarling piece of work which sets 2019 off to a fantastically gruesome start. 8/10

Fusion Bomb: Concrete Jungle (Iron Shield Records)

Oh yes. Fucking yes! Form a pit and stomp your arse off as old school thrash from Luxembourg crashes into 2019 with a total disregard for anyone or anything. This is thrash as it should be. Fast, ferocious and totally infectious. Not merely a nod but a massive head swing to the legends such as Exodus, Death Angel and Overkill, Fusion Bomb hit the accelerator with intent on Zest Of Scorn and decide that the brake pedal is for pussies until they slam head first into the wall as the last bars of their cover of Excel’s I Never Denied fades. In between there is nothing but massive riffs, roaring vocals and groove inciting rhythm with their 2018 single You’re A Cancer To This World and the frantic Nyctophobia amongst the numerous highlights. Home of Amazon’s tax dodging HQ and everything else that is bland and dull, Concrete Jungle is the complete opposite. When thrash is done well it is hard to be beaten. This is a thumper of a debut. 8/10

Emerald Sabbath: Ninth Star (Plastic Head)

Let’s face it, 2019 is shaping up to be a kitbag stuffed with dog shit. Political chaos, climate change and humanity is generally being total twats to each other. So why not start the New Year with an album that mirrors that stinking festering kitbag; a tribute to Black Sabbath performed by some of those who starred in the band during the years the band was never actually meant to be anything but a project for Tony Iommi, alongside some tracks that are never going to be bettered. Add in The English Chamber Choir and a string quartet and already this is looking either highly ambitious or an idea that should have been aborted in the first trimester. This is the brainchild of Michael Sullieabhain, apparently a former nuclear construction safety inspector who clearly lost the plot in his day job. He’s managed to bring together virtually every person who played in the various versions of Sabbath apart from Iommi, Butler, Ward and Osbourne, as well as Ronnie James Dio’ Glenn Hughes and Ian Gillan. So, apart from Vinnie Appice, a real bunch of also rans really.

Let’s tackle the string quartet pieces first as they are probably less of an irritation. We get Embryo from Masters Of Reality, which is pointless before Stonehenge from 1983’s Born Again which is three times as long as the original and goes precisely nowhere. Fluff, originally an acoustic piece from 1973’s Sabbath Bloody Sabbath, is a superb breather in amongst the chaos that was unfolding on and around that album; here is it is routine, with the string quartet providing a passable cover which adds precisely nothing all to the original. Orchid, from Masters Of Reality is another that is unable to achieve any upwards propulsion and leaves you yawning whilst Superstarz fails to ignite even the smallest spark of interest. So that covers that. And then we get to the real steaming turds. 

First up is Die Young from HeavenAand Hell. With a production that sucks balls, and an attempt that can only be described as a passable pub covers band, the immediate outrage of any attempt to cover RJD is fuelled by the absolute desecration that follows. Back to 1983 with a ball achingly bad version of Trashed, which was only ever any good because of Iommi’s riffs and Gillan’s maniacal shrieks … and the fact that Gillan only joined the band because he was pissed. The album hops eras, with She’s Gone from Technical Ecstasy totally ruined, which is impressive given how much of a rhino turd that album was anyway.

In For The Kill fails to ignite anything without the passion of Glenn Hughes whilst the turgid approach to Hole In The Sky had me screaming “turn it off”. But just before you think this is reaching the nadir of the album, Adam Wakeman pops up with Changes, one my most hated of all Sabbs songs and absolutely destroyed in putrid lift muzac. With a line-up that ranges from Bev Bevan, Neil Murray, Appice, to Tony Martin, Terry Chimes and Laurence Cottle (those huge household Sabbath names) this may well be badged as a tribute to the godfathers of metal but please in the name of the black winged one stop. It is dire and deserves only to reside in the £0.99 bin for eternity. Put on some proper Sabbath and forget it ever existed. 1/10