Reviews: Dead Shed Jokers, Klone, Liv Sin, Deadthrone (Matt, Rich & Paul S)

Dead Shed Jokers: All The Seasons (Pity My Brain Records)

Following up on their two previous releases Peyote Smile (2011) and their eponymous album (2015). Dead Shed Jokers return with an album that is once again deeply personal and deals with some very important and at times raw topics such as chronicling mental health struggles, addiction, marital breakdown and then catharsis. It's a heady work that is reflected by the intelligent compositions of the band who are not shackled by any one genre. Recorded in just five days, live at Tim Hamill's Sonic One Studios in Llanelli, All The Seasons is a band who have taken their experimental sound to new heights by plundering new depths of their collective psyche. Phantom Pains has the swirling heavy riffs of Soundgarden (but early Soundgarden) the vocals of Hywel Davies hollering over the fuzzy riffs. It's a pretty emotional opening meaning that Feel Some More takes a more psych tone from the clean guitars and a Pearl Jam styled groove as the open chords wash over you.

Drumming and percussion is driven by Sean Mahoney who is a constant behind the kit while bass and guitars are shared between Kristian Evans, Nicky Bryant and Christopher Metters who provide the swaggering riffs on Dreams Of North Korea a trippy rock number that deals with addiction in the desert rock style of Kyuss. There's an immediacy to this album due to its recorded live nature, you can hear (and I know from experiences with the band) that these songs have been thrashed out live on stage so by the time they were ready to be put on tape they were perfectly formed. It's means that All The Seasons has a rawness to it but one built on a solid foundation of musicality. The title track itself is a introspective number that reminds me of Nick Cave at his most maudlin, building layers as it goes but keeping as a torchlight anthem that Cave does so well. The brilliant 764 is born of Houses Of The Holy where experimentation was king and it's has that 60's psychedelic bent as it drifts into a cymbal-led fade out. 

You could pick out any of the 10 tracks on this album and understand why this album is so good, but it's together that the album works best, like all the best long players the entire album needs to be played in one sitting to get the full effect especially of tracks such as the You're A Thief, which has more layers than an onion along with some jangly guitars and even some bubbling Fender Rhodes, it culminates with freak out that is Enough Is As Good As A Feast, a definitive ending track that carries you to the end of your journey as the band just jam away. All The Seasons is a fabulous return from a band I've been following for a good long while now. Hopefully it will bring them into the wider conscious as they deserve big things. 10/10

Klone: Le Grand Voyage (Kscope)

French atmospheric rock band return with their first album since 2015's Here Comes The Sun. Once again the band focus on the more existential parts of life their guitarist Guillaume Bernard says that the album deals with such concepts as "What is the spirit? What is the matter? and those kinds of questions", it means that Klone's introspective soundscapes are able to delve deep into these ideas using the traditional rock instrumentation to broaden the scope beyond love, sex, beer etc. Philosophy plays a huge part in their lyrical content but it's at a level that anyone without a philosophy degree can understand it, these are the things that run through our heads all the time making them universal "why are we here, where are we from, where are we going" are all questions we ask every day on our own great journeys so it will resonate.

Klone have never been a straightforward band, they have always been firmly in the progressive, experimental and art-rock scene and as Yonder (the first single) begins the album they link their previous release and this one with their trademark moodiness, sounding part-Floyd part-Tool as the keening vocals, solitary guitar sound are matched by jazz piano and crushing down tuned riffs, it's got real light and shade which can be said of the whole album, benefitting from the brilliant production work it's a slow burning beginning to this album but one that sets the wanted tone, it's over 7 minutes of anthemic music that shifts it's feel between hope and despair which as an opening track is pretty special. On to the rest of the album and I wouldn't say it's more of the same as it isn't, there is an overarching 'sound' of the album with echoed clean guitars switching to heavy riffs showing the dexterity of Guillaume Bernard and Aldrick Guadagnino.

However the could not bring these guitar motions on tracks such as the very Tool sounding Keystone without the shamanic rhythm section of Jean Etienne Maillard's throbbing bass and Morgan Berthet's measured drumming. It's Matthieu Metzger and Yann Ligner that add an extra level though with Matthieu adding the samples and some Dark Side Of The Moon--style Sax to Indelible as Yann has a vocal that is filled with yearning captivating you from the outset. Klone are a brilliant act who balance the up and downbeat with music that really invites you to let it breathe, and album that requires multiple plays, Le Grand Voyage is near enough a masterpiece! 9/10

Liv Sin: Burning Sermons (Despotz Records) [Rich Oliver]

Burning Sermons is the new album from Swedish heavy metallers Liv Sin. It is the second album from the band who were formed by frontwoman Liv Jagrell following the dissolution of her previous band Sister Sin. Liv Sin combine traditional heavy metal with a harder edged modern metal sound resulting in songs that have plenty of hooks and melodies but plenty of bite and aggression with some pummelling riffs and rhythms. This is a winning combination on the whole resulting in anthemic and yet crunching songs such as Blood Moon Fever, War Antidote and Hope Begins To Fade (which features guest vocals from Bjorn “Speed” Strid of Soilwork and The Night Flight Orchestra fame). 

The vocals from Liv Jagrell very much match the music with the perfect balance of melody and aggression though she does soften her voice when needed. Whilst this is a very enjoyable album it does start to get a bit repetitive around the halfway mark with most songs following a similar structure, sound and pace and I did find my attention starting to wander through towards the end my attention was firmly grabbed once again with the softer Ghost In The Dark and the balls out aggression of Dead Wind Intermezzo bringing some much needed variety. Burning Sermons is an enjoyable piece of hard hitting yet melodic metal though as mentioned above it does have a bit of a quality dip halfway through. 7/10

Deadthrone: Premonitions (Arising Empire) [Paul Scoble]

Deadthrone are a four piece based in Manchester. Initially I worried that the bands name was a derivation of Darkthrone, making this a fairly derivative TN Black Metal album. However, when I first saw the band title, I had no idea what sickening, disgusting evil Premonitions had in store for me; Deadthrone are a Metalcore band! Yes, you’re right, The Horror! As you can probably guess from that intro, I am not a Metalcore fan. As far as I am concerned, the suffix ‘CORE’ refers to Hardcore, so adding ‘CORE’ to the end of a genre denotes a hardcorey feel to the music as in :GrindCORE. It’s something that I would expect to have a punky feel or to have grown out of punk, as HardCORE did. But there is nothing punky about Metalcore (or Deathcore for that matter). To my ears Metalcore has always been a mix of Nu Metal music with Emo vocals, and that is not a combination that excites me. Once I realised that this was a metalcore album, I tried to give it a fair hearing, maybe this would be the album that converted me? No, not even close. This album is almost an explanation of why Metalcore is crap.

Firstly, let’s deal with the music. One of the major problems I’ve had over the years with Nu Metal is the lack of riffs. I’m sorry, but bouncing on one note is not a riff. Yes I know Meshuggah have done stuff like that, but they always have sooooo much more going on than just bouncing. Most of the tracks on this album have this lack of actual riffs, but the tracks Feel, Wide Awake and Stand Your Ground are particularly bad. The problem with this style is that is stops the songs from flowing, there's a distinct lack of syncopation which just makes this sound boring. When the rhythm isn’t bouncing on the same note the tracks tend to be incredibly soft and ballad like; there's no middle ground. The musicians playing on this album are clearly competent, there's some nice guitar work on the parts where they play more than one note. This overly simplistic approach is clearly something that is done by design, rather than due to a lack of talent.

The vocals are an issue as well (in many ways this album is a microcosm of the macro that is Metalcore). There are 2 styles on offer, either massively over emotional, saccharine sweet clean vocals, or ultra guttural harsh vocals. The overly emotional clean vocals are fairly vomit inducing, over the top, and have no range to the emotion put over. There's a sense of teenage angst, which I would have hoped the band had grown out of, and that stops the listener from taking this at all seriously. I could go through the album to find examples of where the clean vocals don’t work, but it’s pretty much every track. The guttural vocals are a problem throughout the album. At no point does the music get heavy or harsh enough to warrant this kind of vocals, so it just sounds wrong. A good example of this is the track Beacons which sounds a bit Djenty, in a clean way, but then has harsh vocals on it that sound totally incongruous.

I realise that my dislike of Metalcore has affected this review, feel free to take it with a very large pinch of salt. If you like Metalcore and overly emotional vocals and onenote chugging are your thing, then by all means dive in, but for me this is wank. 4/10

A View From The Back Of The Room: The Black Hounds, Fallen Temples & Mother Vulture

The Black Hounds, Fallen Temples, Mother Vulture, Fuel Rock Club, Cardiff

As the embers on Bloodstock Open Air finally started to cool, what better opportunity to banish those post-festival blues than a long-overdue return to Fuel, and one of the first ventures for the newly formed Legions Promotions. Full marks to Alyn and Tim who ensured that the night ran to time, smoothly and with minimum drama off stage. On a filthy night and preceding a Wales v England egg -ball encounter the following day, it was pleasing to see a reasonable turnout reward the hard work.

There are very rare occasions where you see a band and simply cannot respond. Not because they are so bad (although that has happened – Iron Horses supporting Molly Hatchet several years ago certainly fit that bill) but because what you see is just so special. This was the case with Mother Vulture (10) who kicked off the evening with possibly the most high-octane performance I think I’ve ever seen in Fuel. A quick foray through the band’s Facebook page confirms. This is a band who are accelerating straight to the top. Currently in the middle of their UK tour supporting their new single Mr Jones, the band are kicking up a storm at every show.

Who is Mother Vulture? A four-piece from Bristol, the band play intensely revved up punk rock n’ roll in an original style which takes influences from RATM, Wolfmother, SOAD, Crobot and numerous others. The initial impression for me was a cross between the MC5, The Stooges, RHCP (in their heyday) mixed with The Rolling Stones and Jane’s Addiction. Certainly not the heaviest band to ever play Fuel, but a raucous mix which was accentuated by the non-stop movement of the front three. Mo Salah, Sadio Mane and roberto Firmino have nothing on vocalist Georgi Valentine (vocals), bassist Chris Simpson and Brodie Maguire (guitar). Valentine is a bundle of excess energy, his diminutive frame disguising a voice that was just amazing and unexpected. High pitched, totally in-tune and with a range that is rarer than hen’s teeth, his shock of curly hair bouncing around as he rampaged arounds the pit area, becoming more and more animated as the set progressed.

On stage it is a wonder that Maguire and Simpson haven’t beheaded each other yet, such is the frantic twists, jumps and turns that they insisted on performing. On several occasions you winced at the near misses and there were times I was pleased for their safety that the venue wasn’t as full as it could have been. Meanwhile drummer Matt West nailed everything down solidly, looking out at the antics in front of him with a degree of relief and jealousy I’m sure. By the end of their 45-minute set, most of Fuel was enchanted as well as exhausted with what they had just seen. A band who are destined for great things … quickly. You read it here.

Following that was going to be a challenge but fresh from their triumphant set at Bloodstock Open Air, Fallen Temples (9) grabbed the baton with a gusto that was impressive given the emotions of the week that had gone before. A similar set list to that at BOA was unsurprising, but the blast of Sabbath (was that a bit of Supernaut I picked out?) mixed in as well as a corking Immigrant Song helped mix things up a little. This was a relaxed performance and Fallen Temples never let you down. Joe Lewis never stops moving, his newly shorn head banging like a harbour buoy in a storm, whilst drummer Joe Stirland sucked up all the remaining energy from a tiring week to beat the crap out of the kit once more whilst adding those vital backing vocals. 

Although Adam Vaughan’s vocals were slightly down in the mix, his guitar work was sublime as always and Broken and Blood From Stone were exceptional. Fallen Temples are a band I never tire of seeing. Their new style of classic rock stands apart from the more generic sound of current media favourites (e.g. Those Damn Crows, Gin Annie, Wild Stone) and with such a solid grounding, this is a band who deserve all that they are receiving. A big night at Newbridge Memo is looming large. Be there to see one of South Wales’ best bands deliver once more.

A partisan home crowd supporting local heroes, and a fresh new band that blew the (leaking) roof off. It was that level which The Black Hounds (7) had to follow and they didn’t quite make it. Nevertheless, the Black Country metal outfit, hampered by the worst sound of the night, delivered a solid set of tracks from their two EPs. Love & Death and Gallows, as well as a couple of newer songs. Plenty of heavy riffs kept the heads nodding, and their energy was high. Having travelled from Wolverhampton on a Friday into South Wales, they were rewarded with a good response. I’m not a fan of drum solos and Joe’s short blast didn’t do much for me, but a good classic split the crowd in two always gets a response. Stand out tracks on the night were Clarity and To The Gallows and although they were slightly outdone by the two bands before them, The Black Hounds will be worth a watch if they venture across Offa’s Dyke again soon.

Reviews: Hammerfall, Lacrimas Profundere, Solitary, Gurt (Matt & Paul H)

Hammerfall: Dominion (Napalm Records) [Matt Bladen]

Dominion is Swedish metal kings Hammerfall's eleventh studio album, that's not a bad innings when you consider this band have been playing their 'Templar Metal' since 1993, in that time they have very rarely deviated from the power metal pole position they have occupied since their debut record Glory To The Brave, they did have a little bit of a misstep on Infected but their last two albums have been glorious celebrations of their power metal roots, with the band drawing on nostalgia but also keeping their focus squarely on the present. So what about Dominion? Well it's and album that closes with a huge emotional ballad And Yet I Smile which is probably the most emotional song they have done since Dragon Lies Bleeding letting Joacim Cans give his pipes a good work out.

However it's only one of two slower numbers on this album, the rest of the album being the normal galloping  power metal assault that you'd want from Hammerfall. It's the second album to feature David Wallin behind the drumkit who double kicks like a mule on speed allowing Oscar Dronjak and Pontus Norgren to bring the twin axe attack, highlighted on the Maiden-like One Against The World, as Fredrik Larsson keeps everything in line with his bass rhythms. Never Forgive, Never Forget explodes with frantic pace but it's the title track that follows that gets the head nodding and the foot tapping, it's a mid paced stomper that will quickly be added to their live show, as to will the first single (We Make) Sweden Rock a gloriously silly song that could be their new Hearts On Fire. At this point in their career Hammerfall don't have to prove anything they have been doing this for too long to radically change anything, if you want pure power metal glory then get ready for their Dominion. 8/10

Lacrimas Profundere: Bleeding The Stars (Oblivion) [Paul Hutchings]

I’m a few weeks late with this review but it has been worth the wait. I was captivated by 2016’s Hope Is Here and this latest album, the German’s 12th release, on their 25th year, is another special piece of work. With the departure of vocalist Roberto Vitacca in 2018, a mainstay in the band since 2007, the band moved quickly to secure the vocal talents of Julian Larre from Finnish band Lessdmv. Whilst always badged as a gothic metal outfit, Bleeding The Stars really returns to the band’s roots with Larre’s deep, mournful vocals fitting perfectly. Guitarist Tony Berger has also departed since the last release leaving Lacrimas Profundere as a trio in the studio. Founder Oliver Nikolas Schmid handles bass, guitars and keyboards whilst drummer Dominik Scholz returns to the position he vacated in 2013.

Bleeding The Stars is, like its predecessor, an album that grows on the listener with every play. Celestial Woman and Mother Of Doom are deep, richly gothic tracks that blend harsh riffs with melancholic keyboards and sombre vocals. Father Of Fate moves at a faster, semi-industrial speed, swirling keys and a repeating guitar riff combine with clean and growling vocals to create a maelstrom of darkness. There is an epic feel to A Sip Of Multiverse, strings and clean guitar lines adding to an already emotionally complex piece of work whilst A Sleeping Throne concludes this relatively short but enchanting album to a perfect close.

Disappointingly, the band are visiting the UK a mere once this year, on 21st November in London. I’d love to get there but regardless, this stunning release will bring me many hours of listening pleasure. If you like the darkness of Moonspell and the like, then ensure that you get your listening bits around one of the best albums of 2019. 9/10

Solitary: XXV (Doc-Records) [Paul Hutchings]

Preston thrash legends Solitary celebrated quarter of a century together with a blistering set in the Sophie Lancaster Tent at Bloodstock 2019. In conjunction with that, the band has released XXV,  three classic songs re-recorded from their rich past which includes the Requiem, a gruesomely vicious beast which features Rich Sherrington’s snarling vocals. We also get the thundering Within Temptation which doffs the cap to Megadeth whilst the other track, Keep Your Enemies Closer is a well-developed rager.  In addition, you get two tracks from their last London show, at the Camden Underworld with Darkane. Architects Of Shame and The Diseased Heart Of Society which despite the rather tinny sound provide ample evidence of the punishment these guys dish out in spades in the live arena, Bassist Gaz Harrop is back for the first time since 2001, and whilst the solitary (sorry!) original member is Sherrington, there is still much sparking in the belly of this beast. Their Bloodstock Open Air appearance was fresh and powerful, and we can now prepare for a full-length release in 2020, Year 26 promises to be a thrashing good one for this underrated UK band. 7/10

Gurt: Bongs Of Praise (When Planets Collide) [Matt Bladen]

Cracking album title firstly but then it's exactly what you'd expect from party sludgers Gurt, this is an album that takes filthy sludge/doom riffs and tongue-in-cheek lyrics (it's the song titles that give it away) for an album of songs that worship the leaf. In fact there are so many mentions of weed on this album that I'd love to know who is Gurt's dealer as they are getting some very good shit. Musically this is dense, aggressive sludge/doom that remind me of Eyehategod or Phil Anselmo. The album is a muddy mix of sounds full of distortion and growled vocals but occasionally things get a humorous on One Hit Wonder which nicks the riff from Main Offender by The Hives before descending into a thick doom breakdown, but mostly the band attack the listener with a sound that has become bigger with every release. Even here on cuts such as The Joint Of No Return they add some space rock, Jazz Cabbage is a short stab of violence and the title track creeps with some synths before the thick stoner riffs come in. If the more aggressive sludge stoner style with a wicked sense of humour is your thing then take a knee for Gurt's Bongs Of Praise. 7/10

Reviews: Entombed AD, Winterfylleth, SiXforNinE, Scarlet Rebels (Sean, Paul H & Matt)

Entombed AD: Bowels Of Earth (Century Media Records) [Sean Morgan]

HECK! MUCH HECK! WHY AM I TALKING IN DOGGO SPEAK!? Well, if you were a chainsaw welding, HM-2 worshipping son of a gun like myself, anything Entombed related is gonna get you into a tizzy. Scratch that, Entombed AD! Whilst Alex and co remain in a semi catatonic state (Clandestine Live ain’t enough, sorry guys), the LG Petrov fronted Entombed AD continue to fly the flag for Swedish savagery. Although AD’s last two releases were fairly solid affairs, they didn’t quite scratch that itch, that inescapable yearning for the massacres of old. Then last years Fit For A King happened and BOY OH BOY, was that itch scratched! THE RIFFS! THAT FUCKING SOUND! THEY’RE BACK! Upon reattaching my face, Fit For A King left me yearning for more. More, I say! Fast forward to 2019 and Bowels Of Earth is upon us, chomping at the bit to unleash pure Swedeath carnage. Get yer boots on boys, we’re returning to the left hand path!

Tormented Remains kicks your teeth in, right out of the gate. Filth is turned up to the max, from that instantly recognisable chainsaw tone to LG’s gargling roar. It blasts along at breakneck pace, relentless tremolo riffs running at full force and it’s just so damn satisfying! And for Entombed AD, it’s effortless. Elimination ups the intensity again, blast beats and d-beating with murderous glee. It’s just so….if only y’all, could see my face right now! Gurn inducing, gory glee! Remember when you first heard Left Hand Path or Clandestine? Yep, similar levels of necromancy is being conjured here! Hell Is My Home, another pit starter, is a thrashy wee ditty delivered with force akin to a jackhammer to guts. It relents some halfways through though not for long, as tasty lead work rears it’s head above the ensuing cacophony of carnage. Fairly straightforward stuff so far, if by straightforward you mean devastating! Title track Bowels Of Earth switches it up a bit, opening with a brief atmospherics, until it bulldozes it’s merry way into the fiery beyond. The groove is more apparent, reminiscent of the last two Entombed AD albums, but provides a pleasing and comfortable contrast in styles.

Embracing both melodic and anthem sensibilities, it’s one hell of a stomper! Bourbon Nightmare has pleasing pinches of the ol’ death’n’roll here and there, if the addition of slide guitar is any indication, but things remain disgustingly deathly. FIT FOR A KING IS GREAT AND YOU SHOULD LISTEN TO IT AGAIN AND AGAIN. “Worlds Apart” doesn’t sound a million miles away from the underrated “Morning Star”, whilst Through The Eyes Of The Gods summons some suitably delicious Dismember vibes (alliteration, yo!). They both rip, with the latter making me do that face again. Excellent. I’ll Never Get Out Alive is an alright Hank Williams cover, though kinda pointless and has the unfortunate honour of being completely outclassed by doomy closer To Eternal Night. That was killer. There’s no other way to describe Bowel Of Earth other than…well…killer! It’s been a while since anything Entombed related sounded this PISSED, this fucking URGENT and HELL BENT on pulling spines out of asses! Hellid and co may be keen on revisiting the past, but it’s Entombed AD that are in complete and utter command of the future. RIP AND TEAR! 9/10

Winterfylleth: The Siege of Mercia (Candlelight/Spinefarm Records) [Paul Hutchings]

Recorded live at their main stage appearance at Bloodstock Open Air in 2017, this six-track release captures the ferocity, emotion and atmosphere that Winterfylleth, one of the UK’s most revered and respected black metal outfits, generate live. For those there on the day, this is a superb aural souvenir of that rarest of things … a Winterfylleth show free from technical difficulties. Opening with The Solitary One Waits For Grace (The Wayfarer Pt. 1), one of two tracks from 2010’s The Mercian Sphere, the band power through their set of five classics with an ease that only comes with time and practice. The Swart Raven includes their traditional breakdown and heartfelt choruses, balancing the snarl of Chris Naughton. Musically tight, this is a set of classic proportions, with the central pillar of their set a magnificent performance of Whisper Of The Elements from 2014’s The Divination Of Antiquity.

Before closing the set with a blistering Defending The Realm from 2008’s The Ghost Of Heritage, the band express their gratitude to the Bloodstock family and to Candlelight Records for their support. A heartfelt message and hopefully one that will see the Manchester outfit return in the very near future. Atmospheric black metal in the middle of the afternoon in bright sunshine are not easy bedfellows, but this recording is the very essence of this seminal band. As a bonus track, the album features an eerie ten-minute synth version of Children Of The Stones, which provides a different take on the favourite track from The Mercian Sphere. An essential release for fans of the band, and a great representation of just how important this band are to the UK extreme metal scene. 8/10

SiXforNinE: Parallel Universe (Eclipse Records) [Matt Bladen]

Athenian rockers SiXforNinE return with their second album and it has a lit to live up to as their debut was something of a sleeper hit for me which perfectly blended classic rock muscle, with alternative rock grooves and a heap of prog rock virtuosity. Their second album kicks off with two more direct numbers the punchy Every Cloud Has A Silver Lining which takes a little from Dream Theater's Train Of Thought period and is followed by Life Devouring Demons which has a tonne of groove starting on a heavy note before it breaks into a shimmering proggy middle section, before getting heavier again.

Handling production once again is Fotis Benardo (former Septicflesh & Nightrage drummer) who also again lends his muscular pipes to the record, he is a very accomplished singer giving an emotionally charged performance, at times aggressive and powerful but at others restrained and almost pained. It means that not only do the musical contributions of George Kapa (guitars), Herc Booze (bass), Pete Outfox (drums) sound huge on massive rockers like Never Ending Road but that the band can also experiment a little with light and shade as Benardo can handle any changes they may make such as when Never Ending Road goes into the ambience of Deftones before roaring back again.

Considering this only a second album with a reasonably long gap between both releases Parallel Universe is massively accomplished doing what many more established bands do much better, even when they really explore their alternative roots on the intensive More Than Words Can Say. In fact this album sees them moving towards the more modern rock style away from the classic sounds of their debut. Whether this is the influence of mixer Paul Pavao and masterer Tom Baker who have worked with such acts as Disturbed, Rob Zombie, Stone Temple Pilots, Nine Inch Nails and Breaking Benjamin remains to be seen. Though when Meditation Hyperjam sounds so much like a heavier Nickelback (not a bad thing honestly) it's not exactly a secret that they are looking to the mainstream on this sophomore album.

There has been no dropping of the prog which remains on the spacey Karnivool sounding Counting Stars (A Parallel Universe) and it's all the better for it with the slower pace really emphasising the band's talent and Fotis' vocals on a track that lets everything breathe. SiXforNinE are a band who are evolving, keeping their roots but realising that if you don't adapt you get left behind, this is the sound of adaptation, it's heavy and groovy, packed with guitar solos, huge chorus hooks and intelligent songwriting that will appeal to both masses and the minority. 8/10

Scarlet Rebels: Show Your Colours (Rock Of Angels Records) [Matt Bladen]

Ah yes V0iD a band we saw opening for Aaron Buchanan back in May last year, we only managed to catch the end of their set but noted that they played a very radio friendly style of rock. Since then the band have rebranded themselves as Scarlet Rebels, as three members of V0iD Wayne Doyle (vocals and guitar) Gary Doyle (drums) and Wayne ‘P’ Esmonde (bass) were joined by new members lead guitarist Chris Jones and Josh Townshend on guitars and keys, it's a change that seems to have been a positive move as they are now releasing their debut album a 12 track (14 with bonus tracks) record that features Planet Rock fodder by the bucket load. The addition of Jones especially means that Wayne Doyle has found the Mike Campbell to his Tom Petty, his keening guitar playing soaring over the anthemic, down to earth songwriting of Doyle as Gary and Esmonde lay down steady rhythms and Hammond plays the role of the departed Paul Raymond with ivory tinkling and some rhythm guitar.

There's a myriad of classic styles on the record from the sleazy You Take My Breath Away, to the chunky defiant Head's In The Ground as tracks such as Part Of Me have the Southern sound of Black Stone Cherry as Heal is a proper ballad with the the moodiness of the Foo Fighters. Yes it's all well written and composed but much like the other bands in the NWOCR Scarlet Rebels draw on their influences making them more modern, however this album doesn't break any barriers in terms of creativity, the tropes here are well worn and it is a little ballad heavy, in fact it's a little too long to be honest with some of the fat such as Shattered Dreams and Blinded By The Pain needing trimming. Inoffensive rock from South Wales that will be on heavy rotation on Planet Rock and see them featured on numerous classic rock festivals, more power to them but after about 7 songs it was same old same old. 7/10

A View From A Muddy Field: Bloodstock 2019 Review Part 2 (Live Review By Paul H, Liam, Stief & Nick)

Bloodstock 2019, Catton Hall, United Kingdom

Saturday 10th August

(Paul H) Whereas Friday had dawned relatively calm after the heavy rain, Saturday would be challenged by the 40mph winds that were sweeping across the entire festival. With the weather changing every few minutes, it was time to man up, move away from the swaying tent and focus on the music. And what a start. Opening the main stage was none other than one of our favourite bands, Northamptonshire’s Krysthla (9) who were simply devastating. Frontman Ade Mayes was in no mood to fuck up his big moment, and this bear of a man was pumped to the eyeballs as he stalked the stage, his massive roars heard miles away. Alongside Mayes, the duel guitars of Neil Hudson and Noel Davies shredded like there was no tomorrow, alongside bassist Carl Davies and the precision drumming of Liam Turland. Krysthla’s technical extreme metal is not to everyone’s tastes, but if you do enjoy their distinctive surgically meticulousness approach then this would have had you crying tears of joy. New tracks Remembrance and Zero-Sum Game from the forthcoming Worldwide Negative album were well received with Neil’s clean vocals impressing and the translation to the main stage comfortable. Closing with the massive Luminosity this was one of the sets of the weekend.

Across to the New Blood stage to catch some of Nicosia and Brighton’s combined metal talent with Stormcast (7) whose variety of influences quickly made themselves apparent. With a cross between Opeth, Rotting Christ and Gojira, the band went down well, and I was impressed with their delivery.

Back to the Sophie Stage for one of the discoveries of the weekend, Bulgarians Odd Crew (8) who have been going for 21 years. Their diversity in sound proved a winner and as the crowd slowly swelled, the band relaxed and delivered an impressive set. Their final track, a semi-ballad, took the band in a different direction again but a huge ovation told you all you needed to know. Back to the New Blood Stage for the next band, the notable thrash of Corby outfit Reaper X (7). With drummer Carl Sheldrick wearing an intimidating mask, he and the rest of the band provided a gutsy 30 minutes of new style thrash which was certainly sufficiently impressive for me to follow them with more interest now. Plenty of shredding riffage, tight compositions and full throttle approach. This was good stuff.

(Stief) It’s not surprising that Guardians of Time (8) drew a great crowd within the Sophie Tent, their Norwegian heavy metal stylings clearly popular with the festival goers. It’s not hard to see why. It’s a great mix; a frontman with as brilliant a range as Bernt Fjellestad, backed up with guitar work from Paul Olsen and relative newcomer Anders Danielsen (who I managed to have a brief chat with later on in the day) as well as drummer Jan Willy Aarass and Jonkis Werdal on bass, all working together to make a tight sound. There’s even some comedy when Bernt introduces their track As I Burn (sans Tim “Ripper” Owens), twice after Jan Aarass misses the mark first time.

Overall a brilliant set, which unfortunately can’t be said for Bloodstock favourites Evil Scarecrow (6), as I headed over to the main stage to catch the end of their set. Despite drawing a large crowd, the band have their sound marred by the heavy winds battering the fields of Catton Hall. Extra points for perseverance, however, as they battle through the winds to deliver the audience participation we’ve all come to know and enjoy.

(Paul H) A few minutes of North Wales M2TM winners Scars Of Remembrance (6) followed, their mix of influences resulting in a schizophrenic sound which was certainly worth listening to. Vocalist Mike owned the stage, his presence important. By now the wind was at its height and we raced across to catch Teutonic riffers Dust Bolt (8) on the Sophie Stage. Another band who sit very much in the 1980s thrash style, Dust Bolt are actually very good, and their set had much dandruff flying in the main tent. Sadly, an emergency tent repair meant I missed some of the band’s set, but they were vicious with their thrash onslaught.

(Matt) Just before Thy Art is Murder took to the mainstage we got a big solid chunk of old school death metal from Pemphigoid (8) who brought their flesh rotting death metal to the Bloodstock stage on its smallest but often most interesting stage. The three piece used all.of it to full advantage sounding bigger than their component parts, fully prepared to bludgeon anyone that dared to stand at the stage. Never ones to move around they concentrated on bringing the riffs and splitting as many skills as possible. One of the sleeper hits of the weekend.

(Liam) When the Aussie Deathcore titans Thy Art Is Murder (9) were first announced I'd have no idea that they would have gone over so well with the Bloodstock crowd. But with the tongue-in-cheek humor of CJ McMahon and the brutality performed by the band themselves, they’ve certainly gained a new fan base. Although the strong winds disrupting their set and not allowing for any pyro the band still set their sights on Bloodstock and perform a blistering set including song from new record Human Target, including the title track and New Gods go down a treat. While classics such as Reign Of Darkness & The Purest Strain Of Hate send the crowd into a frenzy of circle pits and crowd surfers, When performing Slaves Beyond Death, McMahon takes advantage of the winds to perform a ‘Michael Jackson’ moment with his shirt blowing behind him. And while joking they’ll be back to headline next year, there’s no doubt next time they’re here, they’ll be a few notches up the line-up.

(Paul H) Having resolved the tent issue, I made it back to the tent to catch a bit of 3 Headed Snake (5), the project of Ministry guitarist Sin Quirin. Despite the high-quality line-up, 3 Headed Snake were typically generic metal and interest was not held for long, so it was back to Belfast progressive thrash merchants in Lock Horns (7) on the New Blood stage who amongst other things incited a one man mosh pit which was funny to observe. On stage the band carved their way through their well written numbers and they delivered a storming set.

With the wind now stopping play on the main stage, it was down to those in charge to make the tough calls. And without much of a problem, they jigged things around to ensure the day continued. With the lighting rigs lowered to the stage, the Cradle of Filth fans waited patiently to hear that Dani and co had been rescheduled to Sunday, with several other switches as well. With a risk to life and limb, this was a superb reaction by the whole Bloodstock crew, and they deserve kudos for their decision making.

Back at the VIP bar it was a chance encounter with Slay Duggee (5), the children’s metal outfit whose motto is to bring metal to the U.10’s. They were certainly entertaining enough and probably on long enough as well. Meanwhile, one of the must-see acts of the weekend, Black Country’s Master’s Call (8) brought an air of mystery with their bludgeoning black metal. Pits a plenty as the band dished out misery and despair. A hop across the muddy field to the Sophie Stage whilst there was still no action on the main stage found me watching Saturday special guests Divine Chaos (8) tear the Sophie stage apart. A last-minute replacement for Skeletal Remains, who were stuck at the mercy of a ferry, Divine Chaos brought the monstrous thrash metal and were one of the stars of the weekend.

Meanwhile on the main stage Anthrax (8) had now started the music again and despite seeing them three times last year, they remain an entertaining force to watch despite a rather predictable set list, although the return of A.I.R. was welcomed. Before the festival, the announcement of Australians Parkway Drive (6) as main headliners was met with derision by those with an elitist attitude. Whilst I watched about 40 minutes of their set, I simply do not get why these guys are so revered. A flashy stage show appears to wow those wanting a flash bang wallop approach. Their songs whilst catchy are somewhat repetitive and after about six songs I was ready to return to the Sophie Tent for the headliner, Taake (7). His brutal black metal was intense and the scene in the tent was one of chaos as the occult metal swirled around. A neon blue sign with the Norwegian’s name on it at the back of the stage was an interesting choice and as the embers burned, so the crowd of the curious slowly filed in. By this time, the efforts of the day had caught up and it was time to head back to VIP.

Sunday 11th August

Having survived the night and a rather unpleasant stomach pains, the final day arrived and promised to be just as busy. First up was the BOA veterans Resin, who hadn’t played at the festival for five years. With a string trio backing up violinist Emma Bennett, Resin (7) provided some respite from the raging fires of the previous days and their Alice In Chains style was a great start to the day. The arrival of Krysthla frontman Ade Mayes for a bit of additional vocal support didn’t do any harm either and the Leicestershire band were roundly applauded at the end of their set. Heading over to the New Blood Stage, 28 Double (6) were in full flow. The Leicestershire winners of M2TM, the band were utilising their hard rock with a passion and with a solid support got a deserved response.

(Liam) Some destructive death metal from Belgian on an early rainy Sunday morning, could always be hit or miss. But Aborted (6) wake up the groggy crowd and soon have us all headbanging and circle pitting. The rain gets progressively worse, but no one cares, as the band rip through their set with no cares in the world. With material from both their latest offering & going back to 2001, it’s quite the sight to see the band rip through their classics and new songs as they stand side by side sounding like they belong together. It’s a brilliant set but does get a tad repetitive, but hey, what can you do? I’m just glad I've seen the death metal outfit prove that they’re needed higher up on the bill.

(Paul H) Why does it always rain just before Welsh bands play? The deluge that had occurred on Friday returned just minutes before Fallen Temples hit the stage. Sadly, the rain departed as quickly as it had arrived, and the tent was suddenly less full. Not that this bothered our Welsh heroes and Fallen Temples (9) proceeded to provide the second stellar set by a Welsh band of the weekend. Quickly getting into their stride through Cut The Wire and Phoenix, the band revelled in the extra space and whilst drummer Joe Stirland was bathed in dry ice from most of the show, his backing vocals and excellent drumming were certainly not quiet. Out front Joe Lewis, resplendent in his Musipedia Of Metal shirt bounced around the stage whilst Adam Vaughan focused on his superb guitar work and vocals. Roared on by the vociferous Welsh support, the set flew by. This was a stellar performance from a band who seriously deserve all the plaudits they get.

A quick dash to the Sophie Stage once more for a bit of Nottingham’s Witch Tripper (9). These guys are massive favourites, and this was my fifth time seeing them this year. The power trio never let you down and their groove infested dirty rock n’ roll went down a storm in the packed tent. Richie Barlow was as hyperactive as ever, shirtless from the opening bars as the band blasted through the quickest 40 minutes I’ve ever experienced. It appeared that bassist Chris Stoff had a minor amp issue which happily he was able to resolve. The true professionals that they are, nothing phased them at all and by the time they had hit White Lines the crowd were down and grooving. A fabulous set and another one to remember. Following Witch Tripper were Solitary (8), the UK thrash veterans who belied their age with a fresh, spunky attitude.

Fired on from their excellent XXV release, the band’s intensive thrash assault went down a treat. And then we arrived at that moment of the weekend when you hear a band you really hoped would be half as good as they were. Finnish progressive rockers Wheel (10) proved to be everything we wanted and more in a mesmerising set. English born vocalist James Lascalles is a captivating front man and appeared genuinely moved by the response of the crowd. For those who were unaware of Moving Backwards before, it will surely be on their shopping list afterwards. Roni Seppänen’s guitar work was sublime, whilst Mikko Määttä’s pounding bass is the driving force for their songs. Any band that can throw a ten-minute track in Wheel into their festival set really need it to work and it was simply stunning. Possibly the band of the weekend and I cannot wait to see them again at Damnation.

(Matt) It was Wigan band Boss Keloid (8) who had the unenviable task of following the amazing Wheel but this proved to be an inspired move as what is better than prog on a Sunday afternoon than double prog? Stylistically different to Wheel, Boss Keloid are much more of a spacey affair with the sludgier, stoner riffs matched by the at times overwhelming keys that were quite high in the mix which added to the space rock feel of the band who played a set mainly from their new album Melted On Inch. It was a great way to while away 40 minutes in another world away from the heaviness on the rest of the bill.  

(Paul H) At last time to get back to the main stage and what a set to do so. Swedish Death Metal legends Hypocrisy (8) played a blinding set, full of heavy riffing and visceral thrash sections. Peter Tägtgren, was on ferocious form, his snarling rants about being asked to play in the morning (it was 3pm) and constant haranguing of the crowd to get involved. A set list to die for included tracks from several releases, including a monumental A Fire In The Sky and the mandatory set closer Roswell 47. Mikael Hedlund, Horgh and touring member Tomas 'Elof' Elofsson added all the meat you needed, and this was one of those sets that it was vital to watch. Not over yet as a further trip to the Sophie Tent introduced us to Crescent (8), whose Egyptian death metal was brilliant and deserved a bigger audience. Clashing with Dee Snider was not helpful, but the Egyptians were robust and quite fantastic. With incense wafting through the whole tent this was what we wanted.

The two European bands put through as M2TM finalists were Golden Core (6) from Norway and Seithist (5) from Poland. Whilst Golden core impressed with the two piece’s talent and age, they struggled with the occasion, the size of the stage. Seithist were hexed by an awful sound but just were not very good. In between these I’d watched Suffolk’s most famous son scream his guts out as Cradle Of Filth (8) put in a commanding performance. Following Seithist, we were treated to the hyperactive Leadrobot (6), the machine metal from Leeds who varied between worst band of the weekend and most intriguing. It was the arrival of the blackened thrash of Damim (8) which restored faith as Nathanael Underwood, Flo, Edd and Faust blasted through their set with a ferocity that was incredible for the penultimate band of the weekend. Fresh from their latest excellent release, A Fine Game Of Nil, this was uncompromising stuff and for those unsuspecting souls who had wandered into the tent out of curiosity, probably quite a shock.

(Nick) One of the bands that I was most looking forward too this weekend, Queensryche (9) entered the stage with little fanfare, having been bumped up to the special guest spot due to Dimmu unfortunately having to pull out. Immediately breaking out heavy riff filled Blood Of The Levant, from new album The Verdict, the band set about introducing their new sound to the crowd. However, only really accepted by the die hard Queensryche fans the song finished with an undeserved splattering of applause. From here on though, it was to be hit after hit. Delving deep into the band's back catalogue at times, songs from the Operation:Mindcrime, Rage For Order and Empires were offered up.

Starting with title track Operation: Mindcrime and moving on to Walk In The Shadows and Queen Of The Ryche the band drew the crowd in, mainly due to the yet again flawless voice of Todd Le Torre. Hitting every note perfectly and mostly effortlessly Todd is the key to the modern version of this band. As the majority of the crowd joined in singing along to hits such as Empires, Screaming In Digital and the beautiful Take Hold Of The Flame, the combination of Wilson, Rockenfield, Jackson and Lundgren with La Torres voice offer up a majestic brand of prog metal that has and will carry on to live throughout the years. Queensryche are have always been one of my favourite bands, no matter who fronts them and here they proved why.

*On a side note, to the greasy numpty who was stood next to me proudly proclaiming "I don't know who these guys are, but they're just trying to be Iron Maiden... Desperate". You sir did nothing but embarrass yourself, nonetheless; you are a heathen, you should not be allowed to speak let alone listen to music. You should be banned from all music and your family should be ashamed of you.* (I think Nick was a little tired and emotional here)

(Matt) As we moved towards the main stage for the German hard rock legends in the Jagermeister stage for Womenowar (8) made up of members of Dakesis and Fury who, in the wake of their male counterparts not playing Hellfest, said that they would not be pulling out of Bloodstock as it was not a valid method of contraception. They crammed onto the stage with Erica Had'Ems (Dakesis Singer - Gemma Lawler) using her amazing pipes to blast out Manowar, Kings Of Metal, Hail And Kill and of course Battle Hymns as Joanne Lmao (Dakesis Bassist - Amie Chatterley) cranked out the low end (even treating the unworthy masses to the world's greatest bass solo), the guitars were taken by Davina Shenkels (Dakesis Guitarist - Matt Jones) and Floss The Boss (Fury Guitarist - Jake Elwell) while The Pleasure Slave (Occasional Fury Bassist - Josh Cureton) sat behind the drumkit. The keys (for what is a Womenowar show without massive orchestrations to get hysterical over were handled by The Man-O-Whore (Fury Bassist Becky Baldwin) and Thunderprick (Dakesis Drummer - Adam Harris). They truly played a headline set turning Bloodstock Fest into WomenowarFest. As is only right they played when no other band were performing making them the most authentic tribute to Manowar in the world. Other bands play Womenowar kill so hit The Gryphon later this year to see them make the wimps and posers leave the hall!

(Paul H) And so, we arrived at the Sunday headliner. German legends Scorpions (7) have been touring their Crazy World tour for several years. Slick, choreographed and at times a little self-indulgent, this was still a show that demonstrated why the band are so well regarded. Klaus Meine’s voice started ropey but improved although there were times when he really did show all his 71 years. Rudolph Schenker, meanwhile, didn’t stop, running along the walkway which split the crowd and going through several costume changes. The set-list was almost identical to the set I’d seen in Lille several years ago and the absence of some of their heavier tracks was disappointing. Still, Make It Real and The Zoo both still send shivers up and down my spine, Blackout was thrilling, and Winds Of Change is still in my most hated songs. Mikkey Dee may be a fabulous drummer, but a ten-minute drum solo was unnecessary. Mathias Jabs remains a superb guitarist and it was a pleasure to watch him play. Closing with a ghastly Still Loving You and the inevitable Rock You Like A Hurricane (to the wildest sing-along of the evening), this was possibly the German’s swansong in the UK.

Heading back to the campsite, I reflected that this had been one of the most demanding Bloodstock festivals for a long time. Huge numbers of bands to see, challenging weather and a tiredness which has yet to leave. But it was amazing, and I am sure that this time next year I’ll be writing up my summary of the 20th anniversary.

A View From A Muddy Field: Bloodstock 2019 Review Part 1 (Live Review By Paul H, Liam & Stief)

Bloodstock 2019, Catton Hall, United Kingdom

(Paul H) With every type of weather thrown at us, you’d have to be a complete moron not to appreciate the impact that climate change is having. The UK’s number one metal festival endured everything mother nature could throw at it, but not without a few casualties. Preparations are key, and overall, the Bloodstock family coped admirably. With the emphasis on recycling and the reduction in single use plastic this year, it was noticeable around the site, there was substantially less litter strewn across most of the campsites and particularly the main arena. Additional bins would have made it easier for people to recycle, those that were there were often overflowing. In VIP, the cleaners worked admirably to keep the toilets and showers functional and the main arena portaloos were also impressively useable even late on Sunday afternoon. Reports of the usual animalist behaviour reached us via social media, but apart from the odd punter who missed the bowl and shit all over the seat in one of the loos (how???) it was less of an ordeal than in previous years. Mind you, the story of the shit on a stick which appeared in Midguard was just off the chart in grossness. Human beings eh? What a bunch of idiots. Anyway, let’s talk about the music.

Thursday 8th August

Refreshed from an overnight stop, we set up camp as gates opened and with the short walk to VIP, we were tucking into cold beers in the bright sunshine by early afternoon. The campsite appeared fuller this year, but the main arena certainly was emptier than in previous years. As always, action on day one was in the Sophie Tent and it was certainly a warm one to whet the fans appetite for the forthcoming festivities. Opening proceedings, Mancunian doomsters Barbarian Hermit (6) whose heavier sludgy riffs almost broke the girders. Their bruising intensity was perfect for the opening slot, and a huge crowd were roaring their approval with their NOLA doom style. I’d like to see these guys in a smaller show to get the real feel.

If it was warm in the tent before, Blind River (9) stoked the fires completely with a 30-minute set that oozed class from start to finish. Debuting promising new track Made Of Dirt alongside now classic tracks such as Bone House, Freedom Dealer and a raucous Can’t Sleep Sober finale, this was BR at their most majestic, with frontman Harry Armstrong whirling around the stage like a man possessed. Having seen these guys several times, they are maturing like a fine wine and their new album is on my most wanted list.

The food run got in the way of more Mancunians, this time the insanity of Footprints In The Custard and so with apologies to them (not that they needed it as the tent was rammed and a good time was had by all) we encountered our first run in with Irish metal beasts Ten Ton Slug (7) whose crushing metal was mighty impressive With a newish bassist on board in Pavol Rosa, the Slug oozed their way through a particularly filthy slime trail of merciless gastropod goodness. Tracks from Gluttonous Beast and Blood And Slime got the party firing even harder.

Some of our brothers had travelled to Lords of the Land earlier in the year and witnesses the might of Greek Death Metal legends Rotting Christ (9) there. I’d seen the band several years ago in the same tent at BOA and that evening was one of high intensity. With new guitarist Giannis Kalamatas and bassist Kostas Heliotas fitting in comfortably alongside Sakis Tolis and brother Themis on drums, Rotting Christ demonstrated why they are still ascending in popularity amongst the metal community. This was a set to enjoy, with old classics blending neatly with tracks from their excellent Heretics release. Closing with Non Serviam, the Greeks delivered one of the weekend’s most punishingly brutal sets; thoroughly enjoyable and a great start to the weekend.

Friday 9th August

Friday dawned damp and wet after a night of biblical levels of rain. It was destined to be a day of some drama but even worse was to follow on Saturday. With most punters holding their heads after the inevitable first night of partying, it was a quick change into sturdy boots and down to the New Blood Stage for the opening band of the day, Xero (6), from Newcastle. A powerful sound from the band, who play a kind of alt-metal style like Tesseract and Karnivool. Vocalist Steff was having to work hard to maintain the levels needed and whilst the band were certainly giving it their all, I wouldn’t day that it was my type of music. Much more likely to blow the morning cobwebs away was Zealot Cult (7), in the Sophie Stage. The Limerick based outfit play a Floridian death metal in the style of Morbid Angel and Obituary and were in no mood to do anything but level the tent. Crushing riffs ensured a brutal assault which left the punters gathered with melted faces.

With new album Forevermore already a regular on the playlist, I was looking forward to seeing Bristol based Control The Storm (8) who drew a sizeable crowd. Investing in the first pyro of the weekend, the band moved from a cumbersome soundcheck into a slick symphonic metal outfit and provided a solid and spectacular show. Vocalist Firouzah was the star of the show, her eye-catching outfit not distracting from her powerful, operatic vocal delivery which fitted well with the band’s sound. One of few bands to use keyboards over the weekend, Raedon Mac (who still owes me a physical copy of Forevermore!) added layers to the duel guitar assault and was also able to command the first circle pit of the band’s career! 

Then came the first difficult choice of the weekend with UK death metallers Blasphemer clashing with the might of Death Angel (8). I went with the Californian outfit mainly because I’d already seen Blasphemer earlier this year and it proved a decent choice as the Americans scorched the earth with a quality set. Two from debut The Ultra Violence (including a fiery Voracious Souls) sat alongside more recent tracks from Humanicide, The Dream Calls For Blood and The Evil Divide. Whilst Mark Oseguda’s stage-patter remains a little contrived, there is nothing false about the band’s approach with lead guitarist Rob Castanavy and fellow shredder Ted Aguila swapping sides at will. With bassist Damien Sisson and drummer Will Carroll locking down the engine room, this was a fabulous flex of the thrash muscles.

No challenge about the next choice of band, oh no, as the thrash of the mighty Metal Church (9) finished off the bits that Death Angel had left. With Mike Howe in imperious form, the only challenge was which tracks to deliver. Opening with the title track of their excellent Damned If You Do, Howe was all over the stage like a rash, his flexibility and soaring vocals impressing. Little chat between songs as the band hit Needle And Suture. A double tip to the Badlands album was enhanced by a blistering Beyond The Black and Start The Fire from the band’s first two releases. This was fine show which once again demonstrated that Metal Church are one of the most underrated bands.

Things were about to get feisty in the New Blood tent and a quick dash to Lemmy’s Bar for a beer allowed us to reach the New Blood before the heavens absolutely opened. Cue many soggy punters pouring into the tent. Sadly, the crowd thinned as the sun came out and Soulfly hit the main stage. For those of use from South Wales, the New Blood Stage was way more important as our M2TM winners Blind Divide (10) proved the voters, judges and Rob Bannister right. Ferocious, with an intensity not seen in previous shows, the Cardiff band hit the accelerator and didn’t take the foot off the pedal until the 30 minutes was exhausted. Vocalist James EB prowled the stage like a caged tiger, revelling in the extra room but also harnessing every bit of lung capacity for his draining vocal roar which was spectacular. New track Betrayer Of Blood feels like an old friend, the groove from Adam Duffield and James Ponsford infectious. I’ve never seen drummer Anthony Ellis focus so intently whilst bassist Declan McCabe was pure concentration, soaking up every minute. With the front few rows roaring the band on, this was a special set and one that left us all beaming. The lads done good.

In between our scurrying around a few of the other folks on the blog managed to catch a few more bands on the main two stages.

(Liam) Being one of my favorite bands of the weekend I was so excited to see Children Of Bodom (7). But when they hit the stage, I was a little let down, but it’s not the bands fault. The sound system wasn't on their side so it felt like they were playing another field or two over. Apart from the little technical hiccup the band ploughed through classics such as Are You Dead Yet? Angels Don’t Kill & Hate Crew Death Roll, while also adding a few new songs from Hexed to please the newer fans. From the rasped vocals of Alexi Laiho to the furious drum work by Jaska Raatikainen the band are on point and deliver a blistering set to the Bloodstock crowd.

(Paul H) After that, it was time to ease back a bit and a visit to the VIP Bar to see one-man blues/punk machine Noisepicker (7) (Harry Armstrong from Blind River whose drummer was absent). An interesting set, demonstrating the multiple talents of the former Earls Of Mars man which was quickly followed by another foray into the Sophie Tent to catch a smattering of Demolition Hammer before a stunning show by Countless Skies (7). The Hertfordshire band play rich melodic death metal and were on form, their set one of the more enjoyable ones of the weekend.

(Liam) While Djent is not my favorite genre, Tesseract (5) have proved that Djent does belong here. But really, it’s not for me. The band perform a solid and tight set but they’re not really a main stage band. Not yet anyway. The first few songs were decent and sounded great, but not enough to win me over. They have their fair share of fans here, but they need a little longer and a few more crowd inducing sings to be that higher up. Shame really because they do have potential.

(Paul H) Nothing has prepared for the brutality in the New Blood as Weymouth outfit Anakim (8), complete with The Drowning’s vocalist Matt Small played a 30-minute set that literally smashed the roof off, such was the attack. These boys gave the punters exactly what they wanted and that was a good half an hour of old school death metal. A quick watch of Northern Ireland’s Skypilot (7) proved entertaining, but it was challenging to get near the front of the Jaeger Stage due to the supportive hordes.

(Stief) Out of the many bands that have played Bloodstock in previous years, Powerwolf (9) have had one of the biggest leaps. Having last graced BOA nearly a decade ago, where they were headlining the Sophie Lancaster Stage, the band are now support to the headliners, and it’s a long overdue reunion. With a set filled to the brim with classics such as Resurrection By Erection, We Drink Your Blood, and Werewolves Of Armenia, along with a selection of stuff from their latest release such as Demons Are A Girl’s Best Friend and Fire & Forgive, there’s something for everyone. Attila Dorn is as charismatic as ever, with Falk Schlegel acting yet again as keyboardist/hype man whenever he isn’t playing. The Greywolf brothers are solid with their riffs and drummer Roel Van Helden does not hold back on the heaviness. The crowd are happy, the band are happy. This is definitely Bloodstock

(Paul H)When Sabaton (6) previously played BOA, as main guest to Trivium in 2015, they had blown the headliners off the stage. It was only natural with the progress the band has made to make them headliners this year. However, whilst I enjoyed their early work, recent albums have left me cold and the latest release, The Great War, isn’t one that has impressed me at all. Sabaton had a massive stage set, including a tank drum riser and the eager crowd were buzzing with anticipation as the Swedes hit the stage in traditional style with Ghost Division. The Great War followed, with the crowd in raptures before Resist And Bite got more singing. However, their set was understandably based heavily on their last two albums and as soon as the comedic side of things started (encouraged by the audience who lapped it up – e.g. the constant gibberish around Swedish Pagans) It was time to head to the Sophie Tent for the final band of the evening.

Whereas Sabaton had all the show, Grand Magus (9) relied on their music to do the talking. A blistering 12 song set list, this was an hour of classic heavy metal, undiluted and distributed with epic style. Opening with I, The Jury, this was a set that contained many massive tracks. Like The Oar That Strikes The Water, Raven’s Guide Our Way and a rare outing for 2005’s Kingslayer all got the crowd pumped. JB was in fine form, his skullet and mutton chops flowing, whilst Fox never changes, although he did take more vocal work this time. Drummer Ludwig Witt spent much of his time shrouded in dry ice but didn’t miss a beat. This was magical stuff and a closing Hammer Of The North had the tent singing long after the band had left the stage. It had been a magnificent day. But much more was to follow.

Reviews: Killswitch Engage, Horseburner, Finsterforst, Wormed (Liam, Matt, Rich & Paul S)

Killswitch Engage: Atonement (Metal Blade Records) [Liam True]

They are the masters. They are the foundation. They are the reason Metalcore exists today. And with this endurance comes the American Metalcore monsters 8th studio album. It’s their most ferocious, heaviest and heartfelt record to date. Coming off the back of singles I Am Broken Too & Unleashed, you already knew it was a diverse record as Unleashed was a slow but heavy ‘ballad’ by the band, where as I Am Broken Too is a riff driven fury. The full record itself however, is just as devastating. With Unleashed being the opener it sets the mood. But all eyes are on the second song, Signal By Fire featuring the animal known as Howard Jones, former Killswitch front-man and current Light The Torch voice box. This one track was so nice I had to play it back to back twice. It’s the top notch of the record and a symphony of both Jones’ & Leach’s deepest growls and soaring highs and will no doubt be a crowd favorite with or without both vocalist's present. Plus it is easily the heaviest song Killswitch have produced. Period.

The rest of the album does not slow in its effort with none other than Testament vocalist Chuck Billy making an explosive appearance on The Crownless King. Alongwith Know Your Enemy and Us Against The World, this album is just a Metalcore dream. And with a full UK tour coming up in later this year, they’ve dropped this album at the right time. Sure, it’s competing with the new Slipknot record right now,but it sure as hell is as equal of riffs and singalongs. And as harsh as this sounds, as they are in no matter bad songs, the two released singles are the weakest on the album, but they’re still amazing. The record in it’s entirety proves that KSE have crafted their most perfect and delectable effort to date. And if you have any arguments, you know where to find me. 9/10

Horseburner: The Thief (Ripple Music/Hellmistress Records) [Matt Bladen]

Crawling out of the filthy underground of West Virginia are Horseburner a sludge, prog, stoner metal (call it what you will) who owe a debt to Mastodon and Baroness with swaggering chunky riffs, slow bludgeoning parts and some more clean, jangly ambient textures. They have progressive tendencies which shift the songs between numerous parts and as the run times increase they shift keeping you guessing with large instrumental sections. Jack Thomas and Matt Strobel play some Lizzy-like twin leads over the heavier rhythms from Adam Nohe and Seth Bostick. The songs featured here are groovy, with the band paying particular attention to not only the heaviness but infusing them all with melody. The tracks bleed into one another, which is not a bad thing for this kind of music as it means it's more like one long jam session that moves between stoner riffs on Drowning Bird, jangly psych on The Fisherman's Vow which evolves into doom metal highlighting the dual vocals of Adam and Jack who both trade off much like Mastodon adding an extra level to this release. It's been a bloody good year for this kind of prog/sludge and you can add The Thief to the lost of top releases of this style, it's got some great songs on it, a really welcoming vibe and also it's wrapped in a gorgeous album cover. One to play on vinyl loudly to really enjoy. 8/10 

Finsterforst: Zerfall (Napalm Records) [Rich Oliver]

Finsterforst are another in a whole host of unappreciated folk metal bands. Bands such as Korpiklaani, Eluveitie and Finntroll seem to get most of the attention due to the fun and jaunty style of folk metal that they play. I vastly prefer the style that bands such as Moonsorrow, Falkenbach and Finsterforst play which is a far more atmospheric and epic style with roots firmly laid in black metal. It is a style that is ably brought to fruition by Finsterforst on their fifth album Zerfall. Although only comprised of five songs Zerfall is a mammoth album running to almost 80 minutes in length with one song Ecce Homo taking up over 36 of those minutes though despite its lengthy duration the album doesn’t run out of steam and managed to hold my interest from start to finish. It’s a heady mix of doomy soundscapes, black metal riffing, traditional folky passages and epic orchestral leanings. It is cold and harsh whilst equally being huge and majestic. 

One of the key driving factors in the variations of sound throughout the album is vocalist Oliver Berlin who employs a mix of harsh screams, ferocious roars and rousing clean vocals. He is also responsible for the choirs heard throughout the album. Each song is lengthy with the shortest running to just over 8 minutes but each one takes you on a journey of soundscapes and emotions. Even though I have seen Finsterforst live before at a festival this was the first full album of theirs I had listened to and impressed me it certainly did. If you like your folk metal epic and atmospheric with harsh black metal undertones then this album will certainly float your boat. 8/10

Wormed: Metaportal (Season Of Mist) [Paul Scoble]

Spanish technical death metal titans Wormed have been active since 1998, in that time the band has only released 3 albums, so recorded material is in short supply for this band. Which makes the 4 tracks on this new EP rare and valuable, but are they any good? Well, in my opinion, yes. The tracks on offer here are achingly technical, something we have come to expect from Wormed. The EP kicks off with Remote Void, which blasts off with some very technical drums before beating the crap out of the audience with some great dense technical riffs with ultra guttural vocals. The track then goes into some fantastic flowing, syncopated riffing, before switching into a staccato lurching section. Cryptoubiquity starts with a very aggressive blasting, before the song settles down to more mid-paced, measured feel. Bionic Relic is a simpler song, fast and staccato but with less complexity than the other material. 

The track sounds and feels more direct. The EP comes to a close with the track E-Xystem://CE. This track opens with some very slow and discordant riffs, the track does speed up and gets more complex, but the discordance stays. The riffs on this track remind me a little of Gorguts or Dysrhythmia. The other thing to mention about this track is how horrifically nasty the guttural vocals are, really, really unpleasant (which is great). Metaportal is a great little EP. It’s beautifully well written and played, even though there is only 4 tracks, and 17 minutes, there is lots of variation and different moods. Hopefully there is going to be an album coming soon after, but until that arrives, this EP should keep Wormed fans happy. 8/10

The Spotlight: Interview With Bruce Powell Of Deadwood Lake (By Paul H)

Interview With Bruce Powell Of Deadwood Lake By Paul Hutchings

With the imminent release of Deadwood Lake’s fourth release Immortalised In Death, it was an opportune time to catch up with vocalist and bassist Bruce Powell to find out a bit more about the band and their forthcoming release. The interview was conducted two days before Bloodstock Open Air, and although Bruce is a regular, this year he has devoted all his time into the band. For those unaware of the Deadwood Lake back story, the band comprises Bruce, guitarist Ryan Willis and drummer Tom Warren. All the band’s albums and EPs are themed around the raw emotions that Bruce and his family felt after the death of his brother Gary in 2015. If you’ve listened to the band then you’ll know that the subjects of grief, sorrow and despair all appear, delivered through the medium of some of the most impressive UK atmospheric black metal.

Bruce and Gary got into metal after discovering their father’s CD collection, which contained Judas Priest, Iron Maiden and Motörhead etc. This progressed to the thrash CDs of Metallica, Megadeth and Slayer which Gary had picked up at a house party when around 13 years of age. “This was our entrance down the rabbit hole” said Bruce, “we’d ventured into thrash metal for years and then Gary headed off towards more melodic death metal such as In Flames whilst I went for more progressive death metal and then black metal”. Whilst Immortal were a favourite it was discovering Alcest etc, which flipped the whole black metal thing on its head. “I enjoyed that side of things a lot more than your typical bands like Mayhem and Marduk”.

Gary was two years older than Bruce and they grew up close. “We enjoyed the same hobbies, years in the bedroom painting Warhammer models and listening to music, going out rollerblading in our teenage years. He was never into writing music, that was my kind of thing. I was in bands when he was still alive, but he never really got into that”. Bruce continues to explain his evolution into music. “I bought a bass when I was about 13/14, a horrendous one from Argos, but you’ve got to start somewhere haven’t you! I taught myself after finding Metallica and had a couple of school bands and it progressed from there when I was then writing thrash metal music when I was 16. After finding Opeth I moved to progressive death metal and it moved on from there”. Gary would be a regular at Bruce’s shows when he was playing thrash metal. They would also travel to see bands together including Mastodon, Iron Maiden and Slayer.

Deadwood Lake formed after Gary’s death. Tom is a long-time family friend and knew Gary for over 11 years although Ryan didn’t know Gary. The band’s touring guitarist Tim is also from around the same locality and knew the family. When Gary first passed, it was Bruce who wrote all of the music and lyrics; “our first EP Remembrance was solely written by me. I was in Canada (Bruce’s wife is Canadian). I wrote 15 songs at the time and used six of them. I then came back to the UK which is when I got in touch with Ryan and Tom about recording the songs.”

At first, there was no intention of Deadwood Lake becoming a live band. “It was purely a studio project” explained Bruce. “I just wanted to record the music for myself”. Ryan is now a major part of the song writing team in Deadwood Lake although most of the communication is via email as the two live over two hours away from each other. “We send stuff back and fore, and then Tom will tell us if it is shit or not! I trust his judgement more than anyone”.

Immortalised In Death is out on 16th August. The fourth piece of work from the band. Bruce explains that it is getting harder to write. “Mentally I’m in a better place. If I try and write lyrics when I’m feeling fine, it turns out to be crap. As time goes on, I’m feeling better most of the time so I’m only writing lyrics very rarely, when I’m down, which is rarely, but that is when you are at your most emotive. If I try to force it, it doesn’t work. So, lyrics take a bit longer. In terms of songwriting I feel we’ve progressed. We’ve forged our sound that we want”.

If you listen to the four pieces of work, there is a natural progression. Technically, Immortalised In Death has moved on a level with some of Ryan’s guitar work stupidly good. “There is a natural progression as far as our song writing is concerned. Lyrics are getting harder, but we have progressed from record to record. People often see Remembrance as our best piece of work (before the new album comes out) because it is so raw and emotional. Forest Of Whispers I think we pushed the boat out after what we touched on in Remembrance and kind of pushed the boat out and went exploring a bit more. There is a lot of progressive style, Steven Wilson and Opeth thing on there. There are even power metal parts on there. We pushed to see what we could do. And then we got to Forgotten Hymns and we looked back and reflected on what worked and what didn’t and refined it. With the new album I think we’ve perfected the sound we want”.

The album has some magnificent tracks and I asked about My Ashes Will Remain which is a deep emotional song. “It’s about my brother’s cremation from his point of view” explains Bruce. “Even though his body was passing on his soul remained. Musically we wanted something very powerful and the track even features Paul [Nazarkardeh] from De Profundis to add a guitar solo on the end”.

Another track which is technically clever is Drowning Reality, which is just astonishing in terms of the guitar work. “Ryan’s solos on that are simply ridiculous. He is very talented …and he has only just turned 23”. The song itself focuses on members of family and friends who dealt with their grief by turning to alcohol and other substance abuse. “Numbing the pain that way. I write music to get through it but there are multiple ways you can deal with grief”.

Will there be more work on the same subject matter? “As long as I feel honest about it, then I will keep putting stuff out. The second that it does feel forced I’ll either stop writing music for the band or change direction although I’m not sure if I’d be comfortable doing that. We have half a dozen songs ready for whatever comes next. It is still coming. We have put out four releases in four years so I can’t imagine something next year but maybe in 2021.

Bruce revealed that whilst in work he tends to listen to easier listening power metal such as Blind Guardian, Priest and Sabaton “although I’m not sure the true black metal fans will like that at all I draw most of my inspiration from outside black metal to be honest”.

Deadwood Lake share their label with Agrona, and Bruce is happy with the support they get from Chris at UKEM records. “He’s a good chap. He does great things for the underground UK metal scene. He puts out all the music he wants to put out with his whole heart. He puts his effort and money into it. He can also understand the sentiment of the band because he lost his brother to a traffic accident when he was younger too. You feel like you are helping a small label out rather than giving money to corporations”.

Deadwood Lake return for a couple of shows including one in the Cavern in Exeter with Levitas and then off to the Warhorns Festival in Rotherham at the end of the month. Playing live is a real challenge for the band with Ryan in Lisgard, two hours away. “He considers anywhere past Bristol to be North” adds Bruce. “It’s even difficult to practice so we have to pick and choose”.

Whilst Bruce can’t see a time when he is a full-time musician he admits “it would be nice” but that his music is cathartic and done purely for himself. “It’s something I do in my past time to get rid of the negative emotions I have”.

My grateful thanks to Bruce who was an absolute pleasure to interview and our 35 minutes covered many more topics. If you haven’t got a pre-order in for this album, then do yourself a favour and check the album out online where it is digitally accessible. Even better, get online to UKEM records and order a physical copy. Immortalised In Death is out on UKEM Records on 16th August. You should really buy a copy.

Reviews: Aktaion, SellSword, Draugr, Elusion (Matt, Manus & Lee)

Aktaion: Above Empires (Self Released) [Matt Bladen]

Above Empires is the third album from Swedish metal band Aktaion, it's the first that has been crafted in a studio, they had a year to prepare before collaborating with Studio Fredman and Obsidian Recording Studios for the recording, and mixing and mastering together with along with the legendary Fredrik Nordström. Above Empires is a modern metal album that starts to rip at the flesh from the opening moments of North Of The Sun, it's in keeping with the bands requirements for this album where they wanted to move away from the longer progressive elements they have used before, this album sees them stripping things down and focus on getting as much out of every song as possible.

Chunky down-tuned riffs start North Of The Sun as the vocalist spits venom in the verses as the song explodes into big clean choruses. It's a decidedly modern affair with, technical riffs that never detract from the straightforward approach, slipping in harmonized leads and solos without breaking the grooves of tracks such as the aggressive King Crab which brings more industrialised death metal sounds, I suppose laziness could make you call it Swede-death making comparisons to Soilwork or Arch Enemy but also they have the percussive appeal of Slipknot on Before The Face Of God along with more ambient blackened metal sounds on the title tracks. Above Empires has a similar mix of styles to that of UK extreme bruisers Krysthla, nothing every moves into the lighter realms as even when the clean vocals are used more the musical backing is still skull crushing (In The Blink Of An Eye and Know Fear). An impressive third release from these Swedes if you love heavy, technical metal delivered with precision then Above Empires will be for you! 8/10

SellSword: ...Unto The Breach (Self Released) [Matt Bladen]

The marauding horde that are York mercenary metal band SellSword return with the follow up to their 2016 debut ...And Now We Ride. Now be warned as this is about as epic, grandiose and downright silly. Since the previous release they have lost two of their founding members Jacek and Alex, however their roles on guitar and drums have been filled and it's into glory ride from SellSword. It's the sort of music Dragonforce made early into their career, guitar solo heavy, cinematic keys and a drumming style that rampages like a cavalry at full pelt. Opening with Pendragon lyrically it starts as it means to go on with a song about King Arthur facing Saxons.

It's a frantic speed metal assault with some spoken word pieces in the center and solo trade offs, followed by the marching Inquisitor which is probably about Tomás de Torquemada who led the Spanish Inquisition and there involvement with witch trials. A mix of Blind Guardian and Sabaton, though Buccaneers could be  SellSword's second album puts a goofy grin on your face from the first song. Tom Keeley (bass) and Tom Warner (drums) are a tightly coiled rhythm section driving along the grandiose metal herein as the dual axe attack of James Stephenson and Henry Mahy rampages all over these songs.

Where SellSword really have an advantage is with the almost operatic vocals of Stuart Perry, he commands the record with his performance as they move through 8 songs that are longer and more complex than anything on their debut, seeing SellSword going to a higher level than they did on their debut. It's more mature but it's far from growing up epic fantasy metal done as well as any of their European compatriots. 8/10 

Draugr: Hymns Of Temptation (Self Released) [Manus Hopkins]

Draugr’s Bandcamp page says this album took years to write, and the band spent more than another year working on its production. For now, we’ll just say, it really shows. Hymns Of Temptation is a breathtaking record, made all the more impressive by the fact that it’s a self-produced, independent release. Each track brings with it something new, the album constantly building upon itself through its eight songs. While they blend together perfectly for a beginning-to-end listen, every track is also like its own symphony, especially given the adventurous orchestral elements. There’s not a weak or out of place song on the entire album.

There are many standout elements on the record, like the catchiness of Towards The End, the virtuosity of Kingdom Of The Shades and melody of Hymn Of Temptation. Draugr easily prove with this record that they are a band that should be onstage with their influences, some of whom they name as Children Of Bodom, Kalmah and Wintersun. It’s not surprising to see that these bands have influenced Draugr’s sound, but to call them a copycat band would be wrong. Similar playing and vocal styles are exist between those groups, but Draugr’s song writing is something else, and something epic. 9/10

Elusion: Singularity (Self Released) [Lee Burgess]

Elusion, please, repeat after me. We are NOT Epica! We are NOT Nightwish! We are NOT Lacuna Coil! There is currently an argument raging that the metal world should embrace “female fronted” as yet another sub-genre of metal. Well, whichever side of that debate you fall on, and I know which side I do, this is yet another female fronted power metal outfit that just don’t make the grade. The problems start right from the beginning. We are battered with strings and annoying supposedly angelic voices as a corny intro to a corny album. We are then offered track after track of so-called symphonic heaviness. My problem with all this is that unlike the aforementioned trio of bands, there is no real character or unique selling point. 

With Singularity, Elusion had the chance to pound out some original music, but they have chosen to tread a well-worn path, full of music that would be more suited as the score to a low-budget fantasy series where the FX are as low-rent as the din that accompanies them. It really doesn’t matter about gender; it matters more that metal at least tries to give us something new. As with so many thrash bands who want to be Anthrax or Slayer, now we seem to have a string of outfits who feel the need to give us impersonations of endless bands fronted by women. But, and here’s the thing, my problem isn’t the vocals. This woman can belt out a tune. My problem isn’t the guitars or the technically proficient drumming. All this sounds very mean and groovy. My problem is (surprise surprise) the bloody cringe-worthy electronic wankery that all these bands seem to think is fun and melodic. I’ll let you into a little secret, it isn’t. It never was. 

It’s just annoying. If this band just got on with riffing, singing and drumming, what we would be left with is a solid record with music to drive to and songs to sing on long boring journeys. I even found myself head-banging to tracks like My War Within. This is what makes me so sad, because I wanted more of that, and less of the damn keyboard-driven silliness. Give it a rest for fuck sake. 4/10

Reviews: Twilight Force, Sertraline, As I May, Hawk Eyes (Rich, Lee, Manus & Alex)

Twilight Force: Dawn Of The Dragonstar (Nuclear Blast) [Rich Oliver]

Majestic is a word that should easily be used when referring to Dawn Of The Dragonstar which is the third album by Swedish symphonic power metallers Twilight Force. It is an album that plays into all the cliches and excesses of the power metal genre but as a result of that it is easily one of the best power metal albums I’ve heard this year. This album may have exactly what you expect from a symphonic power metal album but the songwriting, the hooks and the melodies are just so damn perfect that Twilight Force have easily raised the bar for power metal in 2019. The album starts as it means to go on opening with the soaring title track before going into the hilariously cheesy but utterly majestic Thundersword.

The album barely loses any momentum throughout with the magnificent Winds Of Wisdom to the epic closer Blade Of Immortal Steel. Dawn Of The Dragonstar is the first album with new singer Alessandro Conti who power metal afficondos will know from his work with Luca Turilli’s Rhapsody and Lione/Conti and he massively impresses with his phenomenal vocal work here. Twilight Force have 100% converted me to their cause with this fabulous album. This is power metal at its excessive best but it manages not to be overblown with the focus being on the songs and not getting lost in a bloated concept or storyline. To me the band sound like a cross between the grandiosity of Rhapsody and the tongue in cheek fun of Freedom Call. If you are one of those poor miserable souls who despise power metal then this album is going to do little to change your mind but if you love joyous cheese in your metal then I implore you to give this album a listen. It brought a massive grin to my face on a dreary Sunday afternoon. 9/10

Sertraline: From Both Our Hands (Hypnotic Dirge Records) [Lee Burgess]

Sertraline should not be mistaken for the power outfit of the same name. This is an entirely different band, with an entirely different sound. They hover comfortably between the post metal of Cult Of Luna and the epic Atmospheric BM of Fen and Wolves In The Throne room. What I love with this EP entitled From Both Our Hands, is the way Sertraline are not afraid to do their own thing in their own way. They quite easily encapsulate the grim Satanic style of Watain whilst keeping with the traditions of more folk based masters Winterfylleth. The music within these tracks is haunting and grim, and yet beautiful and visual. This band beckons us to follow them on a pilgrimage through their music.

If you follow, they will show you a pathway through a soundscape of pain and darkness. With vocals low in the mix and gritty guitar tone, Sertraline are brutally serine in their delivery of tracks that twist and turn and pulse. There is little anger or even pace here, but there is a sense of rawness and of wonderful agony. Each track envelopes us in darkness and offers little hope of escape. The great thing is, escape is the last thing we want. I would bet this band are destined for cult status in an already awesome scene. This is a stand-alone band, unafraid to drag us to places we didn’t know we wanted to go. If hell has a sound, and the sound is Sertraline, then I hope there are still tickets available. 9/10

As I May: My Own Creations (Rockshots Records) [Manus Hopkins]

Well, this likely isn’t something that’s bound to hit the spot with the majority of metal fans, but for what it is, As I May’s My Own Creations is done pretty well. The synth-infused modern metalcore style As I May exemplify on this record is one metalheads have been known to turn their noses up at, but for those who enjoy it, or don’t let internet comment sections decide for them what to like, this should be right up their alley. It’s pretty much exactly what you’d expect from a metalcore act in this era. Screams on verses, catchy clean-sung choruses and standard metalcore riffs make up nearly the whole record, with more than a splash of dance-like synth licks thrown in too.

It’s textbook metalcore, for sure, but that gets to be more of an issue the further into the record you get. There’s just nothing new on here, really. Tons of bands, well-known and not, play this exact music. The songs just sound standard and generic, considering how many strikingly similar ones are out there. Even song titles like Necessary Evil and Cure Is Worse Than Disease could belong to any metalcore act out there. It’s like there were no influences on the writing on this record besides other metalcore acts, and the band just really hasn’t found its own sound yet. 6/10

Hawk Eyes: Advice (Drakkar Entertainment) [Alex Swift]

It’s no secret that I have been quite critical of modern hard rock in the past, largely for being unoriginal and for too often failing to reinvent itself. There have still been honorable exceptions though. Hawk Eyes could be one of those exceptions. In fairness, you can make out some decent melodies, and there are certainly some intriguing grooves throughout Advice. There could potentially be a lot to admire on this album. Why only could? Well, there’s a huge, insurmountable, seething problem standing in the way. That being, the production is horrendously awful! I don’t even understand how they did such a terrible job with the mixing. If they’d recorded these songs using a tape recorder, using tin cans as microphones, and transmitting their instruments through a broken PA, they would sound better!

Everything blurs into an amalgamated mess, where any hooks that you can pick out have absolutely no character or depth, owing to the fact that you can barely discern the notes from one another. Meanwhile, the vocals and lead parts are drowned out in a haze of feedback and extreme volume fluctuations, which lurch from ear-splittingly loud to inaudibly quiet, with no discernible rhyme or reason. For everyone that moaned about the new Baroness album having challenging production (An intentional and apt stylistic choice, but I digress), feast your ears on Hawk Eyes: hear how crap studio construction really sounds! I kid you not when I say that they make St. Anger sound like Dark Side Of the Moon. My advice? If you value your sense of hearing at all, give this one a concrete miss. 2/10