Reviews: Caspian, Beat City Tubeworks, Collateral, Silverthrone (Alex, Simon & Matt)

Caspian: On Circles (Triple Crown Records) [Alex Swift]

Making Instrumental music engaging and enthralling requires the elements at play to interact in blissful harmony, and for the musicians to command every aspect of a piece. It can also be harder to describe than music with vocals for some reason, which is why I hope you will respect me when I say I felt strongly about talking about the album. On Circles not only achieves an admittedly risky feat yet surpasses the standard for instrumental led music, giving every song an identity in itself and paying close heed to detail, colour and texture.

Wildblood opens on a gentle flow of keys, strings, and saxophone, summoning images of a day’s first light snaking its way through forests and between rocks to revive life. Later, the rising and falling arpeggios, and the sense of enormity conveyed by the four guitars, carry that idea of moving forward. You can picture animals waking from their slumber and plants throwing off the last vestiges of the cold and dark in a desperate search for warmth, as the sashaying instrumentals aided by the precise and flowing percussive elements, intertwine the glory of the piece with vestiges of darkness. This sense of vibrancy and power is carried forward on to Flowers Of Light, which is equally as euphoric and multi-colored in composition – vitally, these players never let their skills run away with themselves. Rather, every moment spills with animated hooks, which embed yourself in your memory and give the pieces a sense of continuity, in spite of the wonderful subtleties which weave their way through every second of the experience.

Nostalgist – featuring Kyle Durfey of Pianos Become The Teeth, and one of only two songs to feature vocals - proves a beautiful transitional track, in that it takes us from the elation of the openers to the quiet contemplation and introspection. The mood of Division Blues is far more one of meditation. Still deep and meticulous in playing, there’s a sense of resolve which surrounds the changeable ambiance, which submerges you in sound – if you devote your uncompromised thoughtfulness. Onsra excels in making the listener reminiscent for spring, light and warmth while allowing hints of melancholy to stay in place, keeping the cohesive and exploratory nature of the record flowing.

Moving Into Collapser, everything becomes far more threatening and intense, the instruments howl to deafening heights obeying a far more menacing sense of purpose as the surreal, sinister tones echo and reverberate off one another as if part of psychedelic and strange dystopia. Through the chaos though emerge gripping melodies and potent progressions, sustaining Caspian’s ever-elusive sense of charm, even if their huge compositions may make you wonder at the unified nature on display. Even Ishmael with its haunting strings and delicate acoustics proves a touching addition to the canon, taking cues from folk and world music, joining the parade of styles, making every single anthem distinct and divergent from the last, while still taking us on a sweeping and interconnected emotional journey. The term ‘Inspiring’ doesn’t do this album justice.

We close with Circles On Circles, the subtle and more traditional nature of which feels appropriate considering the musical voyage we’ve just been taken on. Honestly, if I had to choose a tone to acutely describe On Circles, it would be personal. It may calm you down or enthuse you depending on your frame of mind – either way, you are sure to have some emotional reaction. Like all the greatest music there’s an earnestness to Caspian’s writing that speaks of a desire to inspire, rather than to impress. 9/10

Beat City Tubeworks: Top Rock (The Sign Records) [Simon Black]

You see I love this job. Three or four times a month I get a bunch of new albums to listen to, from bands and genres that I would probably have never found on my own unless I came across them at a gig. And then, out of that pile come one or two little gems that make me smile and stay on the player long after they keyboard strokes of the review have dried online, and this lot are definitely one of the winners in this month’s slush pile.

Beat City Tubeworks are crackingly tight four piece garage rock band from the depths of Sweden, and stand out from the crowd from being exactly what they claim to be on the tin – no nonsense straight up and highly energetic 70’s influenced rock’n’roll - and second time out for these guys, with no signs of running out of energy. ‘Influenced’ is the key word here (think New York Dolls, or early Kiss), but this is not a clone band emulating days gone by - they’ve got their own vibe and the influence is more about tipping the hat to the energy of the period than the sound of the songs themselves. This type of record also gets away with much looser production values than many metal bands have to compete with in a crowded marketplace (to be honest, over-production tends to ruin the effect), and the Beat City Tubeworks have the balance just right here.

Being rock’n’roll, it’s a punchy little 30-minute affair, with ten little 3 minute barnstormers slugging you until you like it from a bunch of guys who have clearly been around the block once or twice. Off to a pogoing start with Roadrunner, the album bobs along at a head and toe-tapping pace, and into single Succubus (which to be honest is not the strongest track here). For me mid-album belter Archaic Approach is the strongest song on the album, but I can see any and all of these songs going down an absolute storm in a sweaty club somewhere where the carpet is more beer than thread. 8/10

Collateral: Collateral (Roulette Media/Cargo Records) [Simon Black]

This is a band who, had they released this debut album when I was a teenager, would have been an 80’s A&R man’s dream, be plastered all over young girls’ bedrooms the length and breadth of the country, and probably been out supporting a huge stadium act storming around the world like grunge was not about to send this genre of music the way of the Berlin wall. Collateral may have been born about 30 years too late for all that but that isn’t stopping them from trying.

Things have a habit of going around and coming around, and if the resurgence of interest in so many bands from that era who couldn’t sell out a toilet in the 90’s is anything to go by, these chaps might just be onto something. Musically this is tight, harmonic and well-produced hard rock by the numbers, and don’t limit yourself to single Merry-Go Round (which Planet Rock have been giving some airplay to recently), as there are much better songs on the album with opener Mr Big Shot, anthemic crowd pleaser In It For Love (nice time changes by the way boys) and the thumping Lullaby (which definitely isn’t) being the stand out tracks here,

I certainly can’t fault the album. It’s tight, punchy, danceable accessible rock of the kind that pricked up my ears way back when (and frustratingly referred to as ‘Classic’ rock nowadays), by a UK based band with a 4 track EP already under their belts, and their sights set much higher. It’s not going to be easy for them. This type of music will go down well with anyone who misses that period, but we are all in our 50’s and this stuff needs young blood to propel it forward. That said, they have the chops, and seem to be cutting it on the live circuit, and I haven’t seen it slowing down the likes of Black Stone Cherry down, so this old hack ain’t writing them off just yet. They’ve managed to get some support slots with Skid Row in Europe later in the year, so fingers crossed for you, chaps. 7/10

Silverthorne: Tear The Sky Wide Open (Golden Robot Records) [Matt Bladen]

Well this a real surprise, when I read that this band featured Brian Tichy who has sat behind the stool for Whitesnake, Ozzy, Slash, Billy Idol and Foreigner, I was expecting some Planet Rock NWOCR songwriting, however when it opened up with some Soundgarden worshiping fuzz it was clear this was something a little different. Tichy's expressive drumming on Black River Rising leads the hypnotic bass of Daniel Spree and heavy riffage from Pete Shoulder. If that name is familiar, then you'll probably know it from the band The Union which Shoulder formed with Thunder guitarist Luke Morley during that band's hiatus. This isn't the stripped back blues of The Union, no, Siverthorne sit in the 90's sound, influenced by the sounds of Zep and Free but with a big heaving slab of the aforementioned Soundgarden, with touches of Alice In Chains and even some QOTSA dropped in to shake up Movin. Shoulder shows again why he is such a special talent vocally, his soulful voice carries these songs as they lock together as a watertight three piece. An EP for now but I'd love to hear some more from this band in the very near future. 7/10     

Reviews: Ozzy Osbourne, Demons & Wizards, Lowrider, Ritual King (Paul H & Matt)

Ozzy Osbourne: Ordinary Man (Epic Records) [Paul Hutchings]

The title of the Double O’s 12th solo album, Ordinary Man, is no doubt a tongue in cheek reflection on a life that has been anything but ordinary. Much has been written about his journey from the blinding poverty in the gritty Midlands of the 1960s to the Los Angeles home and the opulence his career has rewarded him with. This isn’t a eulogy, because despite recent unsurprising revelations that he’s had Parkinson’s Disease for over 15 years, the Ozzy that all the metal world knows, and love remains very much alive and kicking. Co-written with guitarist Andrew Watt (California Breed) who plays guitar and produces the album, the first thing to note is that Ordinary Man has a very high standard of polish. As well as Watt, Ozzy has enlisted the help of some big hitters for what is in all probability is his final album. Duff McKagan lays down the bass lines whilst stickman Chad Smith ensures that the crispness that Tommy Clufetos brought to 2010’s Scream remains securely in place. No Adam Wakeman this time but Charlie Puth adds the thick synths needed on opener Straight To Hell.

As opening songs go, Straight To Hell is as good as most Ozzy albums. It’s riff heavy, bombastic and typically Ozzy. Straight To Hell should be scary but like Alice Cooper, the Prince Of Darkness has lost his sinister edge, and as he enters his eighth decade hearing a line like “I’ll make you scream, I’ll make you defecate” only conjures up images of incontinence. The saving grace is a searing solo from Slash, one of two that the Top Hat contributes to this release. We then get the first bit of reflection, All My Life being a melodic, emotional semi-ballad, Ozzy’s introspection laced with defiance. It’s another big song, musically tight and Watt’s guitar work matching those that have gone before. Indeed, his solo on this track echoes Gus G, Zakk Wylde and Jake E Lee. 

“Do you have any memories” echoes a distorted voice with a disturbing chuckle as Goodbye starts. Whether this is a message or not, Goodbye eerily suggests that this is the finale once again. “No future, no future, replace me now I’m gone”. A third of the way into the track and it explodes, the pace quickens with thundering distorted bass and drums, and more messages; “Sitting here in purgatory, Not afraid to burn in hell, All my friends are waiting for me, I can hear them crying out for help”. It’s one of the strongest tracks on the album, combining the sludgy darkness of Ozzy’s melancholic depression with an almost thrash approach. And wrapped up with some fooling around at the end as Ozzy asks “Is it dinner time yet? Do they sell tea in heaven? 

The title track has been out for a while, the duet with Elton John whose distinctive piano playing dominates one of the most honest and moving songs the Double O has ever written. Symphonic, orchestral and tugging at the heart strings, you’ll either love or hate this. I’m happy to ride with the former. This is Ozzy. “I don’t want to die an ordinary man”. Choral harmonies, big sounds and another instantly recognisable solo from Slash all combine perfectly to sweep along in one massive lump of emotion. It almost had me weeping. Ordinary Man is followed by the first single from the album, Under The Graveyard. Another classic Ozzy song, it’s huge chorus resonates and his vocals are holding up despite the obvious editing and enhancing that has been undertaken during the mix and production. A fiery first five songs and it’s now that the test comes. Eat Me is weak, Ozzy’s vocals sound like someone has taken his teeth out. He’s more likely to need a blender than a knife and fork. Whilst the production gives the album a modern sound, Eat Me is the first real sign that the ideas well was slowly drying up. 

Today Is The End follows, and again I’m struggling with it. Too many effects, echoing vocals and a rather insipid song, truth be told. I really have no fucking clue what’s going on in the middle section, but it’s more pop than rock. Scary Little Green Men at least allows for a bit of rocking out but the jazz style piano jars with the overall direction. Deep bass and drums introduce Holy For Tonight before Watt’s Gilmouresque guitar work, combined with gospel choir backing allows Ozzy to reflect once more on his mortality. “I’m running out of time forever”. A multi layered highly produced track, soaring synthetic strings and an epic feel, this steers Ozzy closer towards Floyd territory than he’s ever been before. Whether he had massive input into the writing and composition remains a nagging question from the start of this album; one that I’m unable to provide an answer. 

The less said about the final two tracks the better. It’s A Raid featuring Post Malone is a punky rampaging song, with the US hip hop artist trading vocals with Ozzy, but it’s a disjointed uncomfortable union, one that you feel was probably forced from the outside. Sirens and background narrative everywhere, Ozzy’s accelerated vocals are curiously driven. It’s awful. Take What You Want starts well enough, but the inclusion of Malone and rapper Travis Scott scream at a desperate attempt to appeal to a market that wouldn’t even know who Ozzy Osbourne is. The presence of that nasally vocoder rapping is abhorrent and with Ozzy side-lined for large swathes of the track, it feels like he’s the guest, not the other way around. The abrupt ending kills any positives and closes an album that is a real variable package. If this is to be Ozzy’s swansong, it won’t be a glorious one. But we can at least look back on a career that is anything but ordinary. 5/10

Demons & Wizards: III (Nuclear Blast) [Paul Hutchings]

The circle is now complete. Two decades since their debut release, the collaboration of Hansi Kürsch (Blind Guardian) and Jon Schaffer (Iced Earth) returns with III. Having reissued the two previous albums, Demons & Wizards and Touched By The Crimson King in 2019, which were supported by a selection of smaller dates and festivals, the time and pressure was clearly on for the third album. Combining the darker vibe of the debut release and the more complex and fierier sophomore album, III is a mix of the traditional Iced Earth and Guardian sounds with additional influences that have evolved in the 14 years since Schaffer and Kürsch last collaborated. “We have grown indeed”, Schaffer says, “and that will be obvious from the first listen. You will hear classic and progressive rock influences, even an alternative vibe in a few places. But it is a pure and dynamic heavy metal album through and through. A journey of epic proportions!”

An army of additional support helped to create III, with Schaffer and Kürsch visiting Iced Earth’s own studio Independence Hall, Blind Guardian’s Twilight Hall and the legendary Morrisound Recording Studios, assisted by seasoned engineers Jim Morris, Charlie Bauerfeind, Tommy Geiger and Joost van den Broek. Aiding Schaffer and Kürsch were studio musicians Brent Smedley (Iced Earth), Ruben Drake (Purgatory, Sons of Liberty), Jake Dreyer (Witherfall, Iced Earth) and Jim Morris, returning for his third stint as lead guitarist besides a cast of backing vocalists, the PA’dam chamber choir (on Dark Side Of Her Majesty and Diabolic), and more.

Lyrically, Demons & Wizards have always covered various literary, mythological, or fictional topics, and this tradition is continued on III. Kicking off with Diabolic which Kürsch admits is connected to Heaven Denies, but with a diverse set of lyrics. As you’d expect, Diabolic is a racing eight minutes of classic power metal with Kürsch’s spiraling alto delivery instantly recognisable. It’s riff hungry, galloping along until the six-minute mark where it takes a gentle gradient to descend to the close, deep choral voices echoing. Invincible follows, an almost throwaway track; this is the kind of song that Schaffer and Kürsch can write in their sleep. Soaring chorus, magnificent overlapping harmonies (a favourite trick of Kürsch’s to overdub his own vocals multiple times) and a slow, intricate tapestry which weaves musically. Then we have Wolves In Winter, a slow building powerful track, Schaffer’s chugging riffs warming the anticipation before the song begins in earnest, whilst Kürsch once again is magnificent. Few vocalists in metal today can match his range.

Final Warning is the shortest track on the album, at 3:46. It’s a track that never really gets moving, a stop-start style with deep echoing synths in the background, thick riffs and the backing chamber choir add depth. Lighters aloft for Timeless Spirit, a haunting acoustic start, harmonies resonating as this track smoulders. Morris let's fly here with some sonic guitar work and as the track increases in tempo through the nine-minute journey. Elsewhere, Dark Side Of Her Majesty contains an intense build up, a rip-roaring track with some neat string effects whilst Midas Disease has a straight-up hard rock feel, the riffs part of Schaffer's tribute to AC/DC’s Malcolm Young. Once more it’s an epic tale to conclude this album, this time Children of Cain, which at ten minutes is the longest track on the album. As A finale, it is magnificent, with Zeppelin era Page style guitar at the start and finish, bookending the narrative which ebbs and flows, one moment visceral, the next soft and calm.

It’s a fitting finish for such an impressive album. Kürsch: “The tune has an overwhelming vibe, not exactly positive, but positive… For this song, I had to create an exclusive universe and came up with a nice dystopian story, which mainly deals with a society called Children Of Cain.” Given the commitments of both artists, it’s unlikely that these tracks will see their live debut for a long time. Given that sobering thought, it is worth sitting back and enjoying another quality release from two of the most creative and well-respected artists in the world of metal. 8/10

Lowrider: Refractions (Blues Funeral Recordings) [Matt Bladen]

I'm listening to this, and the new Ritual King for that matter, on the 50th anniversary of Black Sabbath's self titled debut. Considered to be the birth of heavy metal it's influence can be felt throughout the ages and always very obviously on the more stoner/doom/sludge style with every down-tuned, psych drenched, distorted riff owing their exisitence to Ozzy, Tony, Geezer & Bill. Lowrider are no exception, mostly instrumental soundscapes that rely heavily on thundering grooves and psychedelic explorations. Their first record in 20 years it's a monolithic slab of desert rock that warps it's way around your brain as four piece Peder Bergstrand (bass, guitar, vocals), Ola Hellquist (lead guitar, vocals), Niclas Stalfors (guitar) and Andreas Eriksson (drums) once again fill that post-Kyuss void of head-squelching fuzz and low-end rumbles across 6 sprawling tracks. Sun Devil/M87 is the shortest number on the album but has a huge bass throb leading into the 11 minute final song, Pipe Rider, which spirals with the addition of some shimmering synths. The band have always been one that excels at the instrumental style but Bergstrand gives a brilliant varied vocal performance between the wall of noise. A warm welcome back from these bands they have gone into the void and returned, but now they are back to descend again. 7/10

Ritual King: S/T (Ripple Music) [Matt Bladen]

As I said this album was playing on the day Sabbath came into the populace, Ritual King owe more to Sabbath than Lowrider due to the Iommi-like riffing, Ozzy-like vocals and the huge stoner metal hooks. The energetic Valleys kicks off this debut full length release from the Manchester three-piece showing what they are made of from the off, ballsy riffing and thick syrupy grooves, however this aggression is taken away with jazzier strains of No Compromise which starts out clean driven by Gareth Hodges drumming and Dan Godwin's bass throb but ramps up the tube distortion as Jordan Leppitt unleashes his massive riffing and great vocal, things swirl with more jazzy refrains. There's a lot of different styles here all wrapped up in the stoner metal template, Headspace brings some desert rock stylings, 602 is a riff heavy instrumental while Dead Roads is grooving, dirty proto-doom as Restrain really slows things down. Ritual King is a heady concoction of classic sounds with a refreshing modernity, the influence of that tolling bell from 1970 is there but distinctly shaped by 2020, definitely children of the grave Ritual King are lean mean, riff machine, with a full length primed for taking on the road. 7/10

Reviews: Blaze Of Perdition, Diabulus In Musica, Black Swan, Assassin (Paul S, Alex & Rich)

Blaze Of Perdition: The Harrowing Of Hearts (Metal Blade Records) [Paul Scoble]

Blaze Of Perdition have been in existence since 2007, since then the Polish band have released 4 albums. The first, Towards The Blaze Of Perdition was released in 2010. The 4 piece have a reputation for producing good, melodic black metal in the style of Dissection or Watain, and are an important band on the Polish scene. So, does album number five bring more tuneful, melodic Black Metal? Well, no. The band have decided to move away from their jet black roots, and have got a little bit more creative. Although there are Black metal parts to several of the tracks on offer here, the overriding feel of the album is a mix of Gothic and Occult Rock.

The album opens with Suffering Made Bliss, which begins with a blast beat and tremolo picked riff that is melodic Black Metal, however about halfway through we get a slower, more dramatic section of Occult Rock. The tempo is slower, there is even a groove to it, albeit a fairly dissonant one, and this continues till the end. Next up is With Madman’s Faith which has a very Gothic feel to it, in fact I found it to be quite reminiscent of Sisters Of Mercy, there are pulsing bass and drum lines that could have been written by Andrew Eldrich and Doktor Avalanche. Transmutation Of Sin has a blast beat opening, but very quickly goes over to an uptempo Occult Rock style that works very well, the pacing is great, loads of energy. Królestwo Niebieskie is slower Gothic Rock, but has loads of atmosphere, and a melody that sticks in your head. The song has a blast beat and tremolo picked ending, but still packed with melody. What Christ Has Kept Apart starts as melodic rock but builds in intensity until it reaches full on Black Metal ferocity. The softer parts of the song have some very effective layered parts.

The last 2 tracks on the album are pure Gothic/Occult Rock, so no Black Metal elements, but they are such good songs, you don’t really notice. The Great Seducer is melodic, with a relaxed tempo and a really great bluesy solo. The album is brought to an end by the track Moonchild, which is a mid-paced stomp of a track with a stunning chorus. The Sisters Of Mercy influence is apparent on this track as well, and is a great way to end the album. The Harrowing Of Hearts is a great album. If you were expecting another melodic Black Metal album you’ll be disappointed; but that disappointment won’t last long, once you’ve heard this album you’ll be glad they took a risk. This reminds me a little of Cloaks last album The Burning Dawn, in that this is a sound that has grown out of Black Metal, but has gone beyond the confines of that genre. This is an album packed with great songs, great melodies and brilliant choruses (you could land a Great White with some of the hooks on this album). Blaze Of Perdition have taken a risk with this album, I for one am very glad they did. 8/10

Diabulus In Musica: Euphonic Entropy (Napalm Records) [Alex Swift]

I’ve made no secret of the fact that I love music of a theatrical and experimental tone. I’m forever praising ambition and decrying its absence. Diabulus In Musica represents that sense of grand majesty, taken to its extremes. The entire experience is an utterly immersive voyage into the imagination of four musicians with a zeal and passion for the orchestral, scale and grandiosity. Not an instrument feels wasted in creating a cadence that rivals the latest determinations of more well-known symphonic acts – at least outside of their native Spain, where they’re apparently the most famed. I must admit that upon my first few listens, I was overwhelmed – however, at the time of writing I’m five full sits in, and showing no signs of ceasing my immersion anytime soon. A Lucid Chaos – the title of which eloquently describes these compositions, precedes the haunting and ethereal tone of the record, bringing in luscious, flowing strings, to accompany the traditional Spanish elements in the vocals. From the outstanding nature of an intro track of all pieces, we move into the kaleidoscopic and multi-colored Race To Equilibrium - where towering, histrionic choir melodies climb and ascend to the tune of the rushing violins and gigantic horn sections. 

Melody wise, Zuberoa Aznárez absolutely kills, constantly changing her vocal melodies to meet the majesty of the instrumentals. Her voice is almost operatic in tone, yet also soothing and relatable - an element demonstrated by the epic guitar-led Nuevo Rumbo, where she retains the coarseness to compliment the aggression on display, yet retains a wonderful melodiousness and grace throughout. Also, the decision to make songs in their home language of Spanish: beautiful touch! The Misfits Swing proves a jaunty vaudevillian danceable number, sold by the sway and mastery of the orchestra, yet also by the charming brilliance of the percussion, while our frontwoman plays a sort of frenzied ringleader type character. These may not be as a novel concept, especially in this genre yet the allure, charisma, and commitment to the idea here are so stunning that any observations about the originality of the style seem negligible by comparison. The excellently titled, In Quest Of Sense keeps the wheels in motion, by delivering a forceful, dynamic and vigorous stamp. The only criticism I’d make here is that the snarls (or ‘grunts’, which Wikipedia lists as one of his contributions), courtesy of guitarist Gorka Elso, take me out of the experience somewhat. I understand how they act as a contrast, and that spoken word is more frequently employed in the styles drawn from here, yet I personally struggle to identify with this technique. 

Thankfully, Otoi gets us back on course, starting off a tribal beat before gorgeously incorporating even more Celtic elements - the elusive woodwind and swirling melodies particularly capture the imagination. Soon after. Blurred Dreams lend a sense of subtlety; Taking nods from neoclassical the piece allows a beautiful piano melody to serve as the main emotional object, only swelling and growing in brilliance in the final moments. After the riveting On The Edge, we get another taste of the unique flavours that these musicians optimize to maximizing effect. Again, the tone is melodramatic, yet instead of epic, the feel here is one of a wraithlike waltz. I felt the need to transport myself into the sinister heart so I did what I always do when a piece of music seizes me in such a way, and paced around the room to its ambiance, unguided, just utterly absorbed (an odd stimming technique, yet I’m certainly not the only one). 

One Step Higher is probably the most ‘normal’ track here, with its huge hook and insane memorability, yet despite its faint illusions to the mainstream, no allure is sacrificed. Blind Muse continues to innovate with distinctive use of synthesizers, deep resonant harmonies and ferocious drum work. In The Vortex closes us out on a piece led entirely by strings and vocals, providing an emotive and impassioned end. For my first exposure to Diabulus In Musica, I was absolutely enthralled by the bravery and skill. 8/10

Black Swan: Shake The World (Frontiers Records) [Alex Swift]

I don’t like starting reviews like this but Black Swan really doesn’t give me a lot to say. There's quite an intriguing line up behind the act, comprising members of Foreigner, Survivor and Whitesnake to name only a few of the associated acts. In all fairness, the members almost have a natural right to play anthemic, guitar-driven hard rock, as they arguably helped to establish many of the traits which fans have come to love. That’s precisely the point though: there’s a market for hard rock of a reminiscent nature. If there wasn’t I wouldn’t have to keep complaining about how a lot of the bands in that genre sound exactly the same. Shake The World opens with a forceful bass line, commanding drumming and a distinctive riff. Lyrics speak of rolling with life's punches and never letting anyone get you down. 

There’s nothing awful here. Hell, in a live setting, I could definitely see myself enjoying a moment in the vein of the stomping Big Disaster or the melodious Rock That Rolled Away. There’s nothing here that I would willingly take time out of my day to listen to though. I don’t really see any massive appeal outside of the star quality. Long Road To Nowhere and Immortal Souls are both complete with excellent performances and a sense of bravado...still, that’s to be expected. Whatsmore, there’s an earnestness behind the music which speaks of a desire to get together, as friends and rock out! Some of the finest acts in the world have formed in that way, and I can certainly respect that if indeed that was the intention! For me though, while I enjoyed the record on surface level, I will not be returning for regular listens, in the same way, that I do with some of the legends that Black Swan are forged out of. 6/10

Assassin: Bestia Immundis (Massacre Records) [Rich Oliver]

German thrash veterans Assassin return with album number six Bestia Immundis.  Assassin have never been too well known being more of a cult thrash band.  They formed in 1983 and released a couple of solid old school thrash albums before disbanding in 1989. They reformed in 2002 and released the dreadful The Club in 2005 followed by the rather average Breaking The Silence in 2011.  Assassin then finally got their act together and struck back with the fantastic Combat Cathedral in 2016. Which brings us up to today. Guitarist Jürgen "Scholli" Scholz is the only sole member from the early days but is joined by vocalist Ingo Bajonczak (also of the brilliant Bonded who released their debut album recently), guitarist Frank Blackfire (of fellow countrymen and all round thrash legends Sodom), bassist Joachim Kremer and drummer Björn "Burn" Sondermann.

If you’ve been exposed to German thrash before you will know that it is generally far more aggressive and relentless than it’s American counterpart and that is certainly the case on Bestia Immundis.  This album rarely takes a breather being an all out thrash assault from the very start.  Songs such as The Swamp Thing, The Wall and Shark Attack are relentless thrashers that go straight for the jugular with merciless and devastating precision. As well as songs of pure speed and aggression there are the odd moments where things are mixed up a bit. How Much Can I Take? Whilst being a raging thrasher has moments of contemporary metal riffing whilst The Killing Light is the most melodic on the album with its acoustic intro and nods to melodic death metal in the riffing whilst the two part Chemtrails starts with a atmospheric and dramatic instrumental laden with eerie sounding keyboards before the pure thrashing rage of the second part.

Bestia Immundis whilst having the odd moments of variation is a very straightforward thrasher with bags of speed, violence and aggression. If you aren’t a thrash metal maniac then this album will probably wear thin quite easily but as a man who adores speed and aggression in his music I have to say I thoroughly enjoyed. One for the hardcore thrashers rather than a casual listener. 8/10

A View From The Back Of The Room: Evil Scarecrow (Live Review By Neil Lewis)

Evil Scarecrow, Witch Tripper, Sentry, The Globe Cardiff

I do like The Globe. As a venue it has bags of character (what with it being a former cinema), has a balcony (a rarity for a venue of it’s capacity) and usually boasts a solid sound too. So when a band I am a fan of announce a show in a venue I am a fan of I do my best to be there. On this night the band in question was Evil Scarecrow who were on the first date of a whistle-stop UK tour on which they were promising a new show: Evil Scarecrow… In Space!

First up on the night though, were local six-piece Sentry (6), who are one of those bands that have three guitarists. I know this is just my preference but I can’t hear the difference that the extra guitarist gives you when compared to having two, especially live. Additionally, the six members of the band looked a bit cramped on the Globe’s relatively small stage, especially with the headliner’s stage set and back line already set up. Vocalist Danny Rees must have realised this as it wasn’t long into their set when he decamped to the floor to give a bit more room to his bandmates. Their brand of aggressive metal with a touch of groove didn’t really grab me to be honest, but their performance was enjoyable if largely forgettable as far as I’m concerned.

Next to try and find room to manoeuvre on stage was touring support act Witch Tripper (7). Being a three-piece they had a significantly easier time of it stage room wise and put on an eye-catching, high-energy performance. Unfortunately for me their brand of stoner rock was another style that didn’t particularly grab me but the performance was fun to watch, with guitarist/vocalist Richie Barlow’s stage presence being particularly noteworthy. The penultimate song of their set Hell Bound was very much this writers’ favourite, quite probably because of it being the highest tempo song of the set. Nevertheless their set was enjoyable to watch but in all likelihood I probably wouldn’t go to see them in a headline setting. (You don't know what you're missing - Ed)

If you’ve ever seen an Evil Scarecrow (8) show before you’ll already know that audience participation is very much the order of the day. Almost every song has some ridiculous accompanying dance, chant, noise or occasionally all at once. To steal a phrase from the long-running Radio 4 comedy show I’m Sorry I Haven’t A Clue: front Dr Hell gives the audience silly things to do and the band set them to music. In amongst all the silliness though lies a bunch of incredibly talented musicians, who are writing extremely solid metal tunes; they just happen to be topped off with ludicrous lyrics.

The band sauntered on stage to the strains of Stan Bush’s 80’s tune You’ve Got The Touch which is probably most noted for being on the soundtrack to a Transformers movie, which is indicative of the kind of references the band drop on numerous occasions. They also dropped the relatively deep cut, and title track of their 2009 album, Sixty-Six Minutes Past Six. Other ridiculousness included the actual square dance for Robototron, a hilariously over-complicated crowd sing-along of Cosmos Goth Moth Gong, the sexy dance off associated with Red Riding Hood and the grand finale that was the whole room (and I do mean the *whole* room) scuttling from left to right on command during set closer Crabulon. We also had a “new” song that was in fact an ad libbed aside about Emmerdale Farm along with the usual multiple renditions of (alleged) Welsh-exclusive ad-lib tune Sheep.

At this point I should mention the band’s “In Space” stage set, which was apparently inspired by Total Recall and looked great, in the bands’ usual Blue Peter-esque way. They also had a couple of those seemingly ubiquitous LED panels either side of the stage. The fact that the band continue to evolve and add to their show, albeit in their usual charmingly DIY fashion, is I think a testament to both the size of their ambitions and imaginations. It’s very much a shame that said imagination is clearly currently outstripping the venues they are playing which was literally and metaphorically demonstrated on this night when one of those wacky inflatable arm flailing tube people - that used to be so beloved of WWE’s Bayley before the heel turn - sprang up at the end of Hurricanado and promptly reached the ceiling of the venue, which *just about* prevented it’s full extension. Said tube person managed to maintain their professionalism however and continued to smile throughout what must have been a somewhat uncomfortable ordeal.

For a band that have released just four albums and two EPs since 2006 you could hardly accuse Evil Scarecrow of being massively prolific, but that’s not their point. Their point is to have a bit of fun and as far as I’m concerned an Evil Scarecrow show is always a fun show, and long may that continue.

A View From The Back Of The Room: Fleshgod Apocalypse (Live Review By Paul Hutchings)

Fleshgod Apocalypse & Bloodshot Dawn, The Fleece, Bristol

A rare visit to the UK for the Italian symphonic death metal outfit ensured a healthy crowd gathered at The Fleece, one of my favourite venues on a cold Wednesday night. The Italians produced a stunning album in Veleno last year which featured highly in a number of end of year polls. It’s been four years since the band last played in Bristol but their ferocity and highly complex show compensated the die-hard fans who screamed and roared their way through every track on the 12 song set list. The bulk of the set was drawn from Veleno and King, which was unsurprising, but the back catalogue got a decent share with tracks from Labyrinth and Agony featuring as well.

Fleshgod Apocalypse (7) took to the stage bathed in swirling, atmospheric lighting; the stage set impressive, with the three carved microphone stands prominent at the front of the stage. The band is of course, a tight nucleus of lead vocalist Francesco Paoli, bassist Paolo Rossi and piano player Francesco Ferrini. Between them, these three contribute all the writing and recording of their music but are aided by the sweeping soprano of Veronica Boradcchini whose operatic tones have been a key feature of the band since 2011; new live members (since their previous Bristol appearance) Fabio Bartoletti on lead guitar and drummer David Folchitto have been with the band for a couple of years and fitted solidly into the line-up.

Opening with The Violation and Healing Through War, a relatively staple in the running order in recent years, the band clad in their traditional death metal opera suits, it was apparent that the mix from our position towards the back of the venue was not right, and whilst Paoli’s vocals roared through the cacophony Bartoletti’s lead work struggled to cut through. A low end of Folchitto’s battery combined with Rossi’s deep bass blunted the dynamic symphonic approach that make this band so unique. Meanwhile Boradcchini’s high pitch sliced the air, her platform at the back a mere holding pen to rest between her regular forays to the front of the cramped stage.

Whilst the sound slowing improved, it was noticeable that there were clearly two camps in the audience. Those that were totally into it, mouthing every word, screaming along to new tracks Sugar and Monnalisa, the head banging matching that of the Italians on stage and huge appreciation when Fleshgod launched into Minotaur from Labyrinth, a firm favourite. However, the other camp consisted of those there for the craic, and the curious whose interest was more of a cursory toe dip into the water rather than full immersion. At times there were more people outside the venue than in it.

The intensity of a Fleshgod show requires full concentration, the vibrant interplay between operatic and full-on death metal challenging and at times almost indecipherable. By the time penultimate song Gravity had clawed its icy fingers around the crowd, all energy had been sapped. This is a band who need a venue to match their huge production values, and on the night, The Fleece creaked and groaned, but was slightly overwhelmed by the sheer magnitude. What wouldn’t you give to see them in St David’s Hall with those magnificent acoustics?

Earlier in the evening semi-locals Bloodshot Dawn (8) had done a sterling warm-up job. With workaholic Josh McMorran not only leading from the front with his band but also pulling full merchandise selling duties pre and post set, the band roared through a set crammed with songs that are only too familiar to their slowly growing legion of fans. For a band who we’ve seen flower from the cramped surroundings of the much missed Bogiez to Japanese tours and two brutal Bloodstock sets in recent years, the intensity still remains. These are guys fuelled by their passion for music. The crowd whilst static until Visions exploded into life at the end of the set were vociferous in their approval of the technical death metal on display.

With stand in drummer Ben (one of the smallest drummer’s I’ve ever seen) a powerhouse behind the kit (covering for the absent James Stewart), Bloodshot dawn possess possibly the second finest front three in the UK, although how technically good at the seven strings Messrs Saleh, Frimino and Mane are remains to be seen. Bassist Giamcomo Gastaldi’s frantic wind milling distracted those watching from the continued evolution of his mighty moustache, his five string thunder resonating deep. Bloodshot’s sound wasn’t the best, but Morgan Reid’s lead shredding was majestic, allowing McMorran to concentrate on his guttural snarls and hefty rhythm. A band who never tire of playing, we never tire of watching them.

A View From The Back Of The Room: Loathe (Live Review By Liam True)

Loathe, God Complex & Phoxjaw, Clwb Ifor Bach, Cardiff

Upon hitting the stage the band build up their presence with an atmospheric instrumental that slowly built into a meaty bass drop fuelled by the ridiculous high bass tone on bassist/vocalist Danny Garland, Clwb Ifor Bach is packed. And I mean fucking rammed to the point where the merch tables are nearly being overrun. Apart from the loudest bass I’ve heard in my life the set goes on without a hitch. For the next 30 minutes Phoxjaw (7) unleash a torrent of slow beefy chugs mixed with punk elements to create a head banging mixture that I wouldn’t have thought would work as perfectly as this. Phoxjaw take the stage, unleash hell, and leave. No introducing themselves as they let their music do the talking. Being apart of a growing underground scene like this will land them some special slots for this bright up and coming band.

Raw. Unpolished. Hardcore. Just a few words to describe the set that God Complex (8) had just laid bare to Cardiff. From the instant the first note was hit you knew there was going to be a big heap of filthiness to come from this band. And they did not disappoint. Creating a putrid noise of both Hardcore & Metalcore, God Complex eviscerate the crowd and lower any jaws that were judging their sound before hand. Part way through the set they’re joined in stage by none other than Loathe vocalist Kadeem France who utters a glorious yet disgusting guttural before quickly scarpering through the crowd. No head are stood still. Nosh pits are opening every song and the Hardcore fans are in their element with the fast paced non-stop thrill ride that just slayed us for 30 minutes. They’ve gained me as a new fan, and certainly the majority of this room.

In 2016 I witnessed Loathe (10) open for Oceans Ate Alaska. During the set the band used masks to hide their faces for part of the set, and I was a mere half a foot away from vocalist Kadeem France as he was kneeling down to the introduction track The Cold Sun. fast forward 4 years this band had made monumental leaps in both sound and stage presence. The main thing everyone here for tonight is the release of the new album, as it is the album release tour. Their new merchandise plastered with old and new quotes alike from previous songs. Their stage set up still the same with the two old TVs both side of the drum kit. The only difference? We have a new record to break in. And if truth be told. Loathe have broken us all tonight. As soon as opener Red Room hits it’s first note the crowd are engrossed and flailing their limbs like there’s not tomorrow. Old songs like Rest; In Violence & Dance On My Skin go down a treat and fit in well amongst the new, if anything, heavier songs that the band have spewed forth unto us tonight.

The entire venue is one big mosh pit with the Hardcore fans and Metalcore fans pitting together in unison. The band themselves have no lights on them apart from the occasional strobe, as they mainly use the lights behind them to light up the crowd and use it to convoy the feeling that we’re in control tonight. Not the band. Finishing with The Cold Sun & It’s Yours the crowd are encouraged to rush the stage, steal the microphone and crows surf like this was our concert all along. Loathe tonight have proved more than enough that they are heading for bigger things than selling out small venues. I’m calling it. Within the next two years, this band will have headlined Brixton Academy. This show is one that will stay for me forever. And remember. The world is dust. And so are you. This. Is. Loathe. 10/10

A View From The Back Of The Room: Delain (Live Review By Matt Bladen)

Delain & Cyhra, Anson Rooms, Bristol

Going to Bristol on an evening which was going to end with the beginning of huge storm (currently still raging as I write) was probably not the best idea but hey...he who dares etc. It proved to be a positive decision mind as I will explain later but first some background.

A relatively easy trip to Bristol mean there was time to eat and for my esteemed colleague to do an interview for another publication. After this we met up with some other regular gig going folks and managed to head in for the one and only support. Although the photographer's didn't make it due to the start time being adjusted to a little earlier than billed. Kicking things off were Cyhra (7) a band who have graced these pages before as album reviews with mixed success though there most recent effort was a lot better then their debut. Still having never seen them live I was interested to see what the band featuring Jake E (formerly of Amaranthe) and Jesper Störmblad (In Flames) could do on stage. Alas I didn't realise the Jesper doesn't play with the band live, his place is taken by Marcus Sunesson who plays a mean driving rhythm locking in with Alex Landenburg's drums and as a foil for Euge Valovitra' lead playing. As you can see the band don't have a bassist but they do have Mr Mac Book providing additional sounds. Their brand of melodic metal was met with some silence between the songs, mainly due to unfamiliarity but while they were playing there was enough reception to make the set worthwhile. Jake is a great vocalist and clearly the driving force of the band trying his hardest to get the crowd going and while they were enjoyable it was obvious that the crowd were only here for one reason.

That reason became clear as the headliners took to the stage, a massive cheer erupted when frontwoman Charlotte Wessels strode on stage brimming with confidence, drawing the focus immediately with her shimmering gold dress and flame red hair it's her voice and enthusiasm that have won me over every time I've watched the band. The show started with Burning Bridges the first of 7 from their latest release Apocalypse & Chill (more than half the album). What strikes as almost as soon as Delain (9) begin is how slick they are, they are clearly a well rehearsed live music machine as the rhythm section of Joey Marin de Boer (drums) and the magnificently named Otto Schimmelpenninck van der Oije (bass) pumping out the grooves to every bouncy symphonic metal anthem in the bands repertoire. It's with these songs that they really show why the fanbase in the room was so rabid, you could feel the love in the room as they bounced, clapped and even danced to Let's Dance which from the new album and really comes into its own live.

Suckerpunch and The Hurricane from the previous release came after Creatures and moved into April Rain the solitary track from that early album of the same name, that keyboard riff still sending some chills. We got a stunning rendition of Masters Of Destiny and then the momentum was temporarily derailed by the ballad Ghost House Heart which despite being a great showcase of the musical dexterity of Delain did moot the evening a little, thankfully Timo Somers guitar instrumental Combustion managed to get things motoring again with Hands Of Gold, Not Enough and Don't Let Go all adding fuel to the fire leading to a magisterial rendition of The Gathering from their debut. The pace was back much of saved by the infections joy of Wessels who seemed a little overwhelmed by the reaction of the crowd. During the latter parts of Fire With Fire and Pristine (on which Wessels gave a mind-blowing performance) they even had to take longer breaks due to the clapping and cheering, even coaxing band co-founder Martijn Westerholt down from his keyboard perch at the back of the stage to drink in the adulation (resplendent in a garish shirt). 

As the set wound to its end, though I'm sure the room would have happily been there for another hour at least. The set finished with something surprising and something obvious. The surprise was the second ever showing of When We Had Everything where not a note was missed and the final was their now go to set closer We Are The Others, their anthem for those of us that are outside of the perceived norms. For me Delain is a cathartic experience, they are a band that can win over even granite hearted black metal types with their all-inclusive nature, the obvious care they take with their craft and of course a boat load of brilliant songs. With something brewing for later this year I suggest that everyone sees the band at least once. 

A View From The Back Of The Room: Sabaton (Live Review Marie Verliefden)

Sabaton, Apocalyptica & Amaranthe, Wembley Arena, London

It's on the first notes of Amaranthe's set that I enter Wembley Arena on Saturday the 8th of February. Fans stream in from all the doors wearing camouflage pants and Sabaton t-shirts, marching up and down the hallways. Everyone has a huge smile on their faces and the atmosphere is electric!!After grabbing a quick beer at the bar, (A really expensive beer…) I wander down the stairs to join my metal family in the standing area!

The first thing I notice is the quality of the sound! I have been to Wembley a few times but never heard such good quality sound before! Especially when you think we are only watching the opening act. Speaking of the opening act, I am also positively surprised by Amaranthe's (6) performance! Compared to previous gigs, their set is a lot more on point and it seems like having Angela as a manager is working well for everyone!

After this short but impressive set, it is time for Apocalyptica (8) to jump onstage! Armed with their cello they start a powerful and mesmerising set in front of a wall of videos which accompanied their music beautifully. Elize Ryd comes back on stage to lend her beautiful voice on a couple of songs, giving some extra depth to this wonderful set. It’s with the entire venue singing along that Apocalyptica end their set with Nothing Else Matters

The entire venue is buzzing and I can feel the excitement building around me!W the crew is busy setting up the stage, people already start singing Swedish Pagans. It is dead on time that Sabaton (9) invade the stage, ready for battle and start really strong with their famous Ghost Division. Already bombarding us with us with Pyro and fireworks, I am blown away by the energy and the fantastic set up the band has prepared for us!

As always, Hannes sits triumphant on his tank while his band mates run around the stage making their way between barbed wire and sand bags! They are all smiling and looking extremely happy and proud to have conquered a sold out Wembley on their first assault!

Joakim is running around the stage singing one hit after another, taking a few seconds in between the songs for a few jokes and swear words! They decide mid set to invite back on stage their tour mates from Apocalyptica to collaborate on a few songs. The new song Angel that they wrote together is definitely worth seeing live and having Apocalyptica adding they magic melodic touch to The Price Of A Mile was just the best moment of the set for me! You can tell they have work really hard all together to create this collaboration on stage and their hard work delivers remarkable results!

It is too fast that Apocalyptica leave the stage while Sabaton carry on their powerful set served with fireworks, fire, CO2 canons, more fire, pyro, confetti cannon, more fire. Going from classics to new songs from their latest album The Last Stand there is not a down moment in this show and the crowd does not have a second to catch their breath. A show that unfortunately comes to an end way too quickly but perfectly with their set ending To Hell And Back

The battle is over and it is with legs sore from jumping around that I leave the venue with my fellow metal heads, everyone smiling from ear to ear and singing all the way to the tube station!

Reviews: Space Of Variations, Great American Ghost, Hollywood Undead, Disastroid (Alex & Rich)

Space Of Variations: XXXXX (Napalm Records) [Alex Swift]

The issue with EP’s is they give the artist a small amount of time to make an impression, in this case across just six songs. Still, a great EP can be just as forceful and powerful as an album can, and Space Of Variations demonstrate how to pack tones of clout and wallop into just 20 minutes of running length. Room 57 begins on a visceral and harrowing scream, an exciting and constantly altering guitar part hollers it's way through the song, until the unexpected yet intriguing melodious interlude, which brings in ideas from psychedelia to oriental. After we are thrust back into the chaos XXXXX continues to impress with a dystopian and eerie finish, which incorporates these harsh and abrasive synth textures into the mix, lending to the sense of unease and anxiety being violently cultivated. Razorblade continues to experiment with uncanny and strange effects, fusing ferociously with the erratic drumming and groove-laden lead passages. Once more this anthem takes a left turn into fiercely melancholic and beautiful territory, before the record itself beguiles with its most striking change yet – a slow burn rhythm and a blues-infused piece which rids of the distortion while harnessing echo, reverb, and progressiveness to create an emotional experience which spans far beyond anger or rage.

Empty Universe brings together the elusive and hypnotising qualities of both these emotional states, to create an experience which feels incomparable to anything either inside or outside of the metal genre. Through that weirdly absorbing synthesis, the listener is left to contemplate the unsettled and changeable nature of their own feelings and experiences – proving that these ventures into the unknown are having their desired effect. Despite only being two minutes in length, Find Me In The Dark furthers that sense of exploration through the dark, conveyed throughout the experience. The final song translates from Russian into Will Be Punished and possesses all the viciousness and wildness you’d expect of the closer. We are left staring wilfully into the abyss with only fading instrumentals and light patterns of synths to provide brightness to the unending abyss. That’s how expansive the potential and ambitions of these musicians seem. Only time will tell if I’m correct. 8/10

Great American Ghost: Power Through Terror (eOne Records) [Rich Oliver]

Contemporary hardcore is very much not my cup of tea. When it comes to hardcore I’m far more of a old school or crossover guy so I didn’t expect much going into Power Through Terror which is the third album by Boston metallic hardcore band Great American Ghost. I am now eating several large servings of humble pie as Great American Ghost just totally proved me wrong. It contains all the elements of modern hardcore I’m not overly fussed on - chuggy riffs and breakdowns and that ‘hardcore bark’ vocal delivery but this these elements are delivered in such an honest, brutal fashion that I couldn’t help but be utterly impressed. Great American Ghost delivery bruising hardcore with elements from contemporary metal bands such as Machine Head and Gojira and even some nods to far more extreme bands such as Nails.

The result is some mightily pissed off and rage filled hardcore which is some of the angriest music I have heard in a while. It has a huge powerful production that enables monstrous slabs of terror such as the title track, the pummelling Rivers Of Blood and the emotionally charged No More. Highlight for me though was the absolutely relentless Prison Of Hate which was the musical equivalent of being kissed by an exploding grenade. Power Through Terror is one angry motherfucker of an album and whilst it does contain elements in the music I’m very much not fond of it never feels forced or contrived (not even the breakdowns) with Power Through Terror being a singular mission to break peoples faces. If you have some anger to expel then this album comes very much recommended to help release some inner rage. 7/10

Hollywood Undead: New Empire (Dove & Grenade Media) [Alex Swift]

Despite apparently being a fun band to see live, Hollywood Undead’s style of rap-metal has never broken through for me, and in all honesty, it’s not difficult to see how they could detract many people. Their first album Swan Songs, spawned a few major singles yet their popularity grew out of a reminiscence for nu-metal, and a willingness to be controversial and provocative. In the space between 2008 and 2017, I honestly wiped my memory of them. However, I gave their last album, 2017’s Five a listen and was honestly not shocked to find a band who despite maturing musically, are still serving up an acquired though a personally forgettable combination of hardcore rap and alternative. And, as New Empire continues to prove, while there’s nothing overtly awful on display, there’s very little that will be tasteful or timely to anyone outside of a certain niche!

Time Bomb is offset by an aggressive, forceful guitar riff, and erratic exchanges between the two vocalists which excellently crescendos in a huge chorus with melodic instrumentation, proving a stark contrast from the chaos of the verses. Admittedly, the anthem could do without the effects and distortions with lather almost everything, and if there’s one massive criticism I’d make of these hooded intruders, it’s their utter disregard for subtlety. Still, from an objective point of view, here’s a pretty epic opener. Moving into Heart Of A Champion there’s a very clear sense of Linkin Park copycat antics, the huge chant-along melodies, all the way down to the looping through enticing duel synth guitar line, feels extremely reminiscent of 1000 Suns or Living Things – I don’t often care to use comparisons, though the influence is all but impossible to ignore. However, hearing that sort of sound resurrected by these of all people certainly helps to fuel that nostalgic vibe, and there are worse acts from that era to copy, so I’m still largely pleased, albeit not thrilled so far.

Though, there is some straying back into bad habits going on in places – Already Dead plays by the same rulebook of the openers, and despite terrible on the surface, spoils itself with constant tempo changes, ear grating sound effects and an overarching sense of disorder that proves utterly unnecessary. Therein lies the crux of the problems I have with Hollywood Undead – When the emphasis is on melody and song structure they are a decent, albeit unoriginal popular rock act. When they try and bombard the listener with huge production value for no other reason than to satisfy an attitude and defiant image, then they end up alienating me – and I suspect a lot of potential casual listeners, given how they’ve seen a dive in notoriety.

Empire was one of the singles that preceded the album’s release and despite bearing a pretty powerful lead guitar part is probably the worst song here. The pacing here is all wrong- the instrumentals completely drop out for the rap verses, the melodies feel tiresome, unattractive and sleepy and once again the electronic whirrs and wheezes make no sense in context. Killin, it may be experimental for the genre it falls into which is trap rap, yet probably falls outside of our jurisdiction, and is definitely not amount to anything I would spend my own time on. Thankfully, we do get something of a return to form with Enemy which is a full-throttle punk anthem, with elements of jungle and metal-infused – making the piece the most original and exciting track on the entire record. Upside Down is another one with creative writing and powerful execution, with a strong message about not regretting past failings. The rawer emotional feel of this track continues on to Second Chances which despite not breaking any new ground musically, has an aura that hints at a willingness to deploy talent to maximum emotional effect. If there’s one song which proves that Hollywood Undead has matured it’s this one.

Ultimately, nothing on New Empire really impresses me, and I wasn’t expecting anything to. I can admire the cult fanbase from a distance, but I will never be part of the Hollywood Undead hype train, and that’s okay, I’m sure their fans could say the same about some of the bands I love and admire. I offer Hollywood Undead a respectful if lukewarm score. 4/10

Disastroid: Mortal Fools (Heavy Psych Sounds) [Rich Oliver]

Mortal Fools is album number three from San Francisco stoner rockers Disastroid. Having lost a fair bit of interest in stoner rock over the past few years this is not a band that I am aware of but they are a band that take the stoner rock formula and very much put their own twist on things. It is nine songs of very discordant stoner rock with plenty of odd time signatures and a playful quirky nature. You get songs like 8hr Parking, Reset and Bilge which are full of 90’s stoner rock tropes such as fuzzy riffs and rumbling bass but delivered in an unconventional style whilst you also get songs such as The Crewser, Hopeless and Insect Mind which are far more off the wall with a myriad of twists and turns. 

It is clear that the band are highly influenced by 90’s noise rock bands as well as stoner rock as heard in the unconventional song structures, discordant riffs and moments of squealing guitars and feedback. It comes across a mix of noise rock meets the Melvins meets Mastodon. It is great to hear a band do something a bit more leftfield in the stoner rock genre. It’s always my one big complaint within stoner rock and metal that it’s all way too samey and played far too safe. Mortal Fools is definitely an album that goes to different and experimental territories but at the same time I found this a quite unengaging and jarring album at times. Full props to Disastroid for doing something different but overall it just didn't connect with me. 6/10

Reviews: Suicide Silence, Blackwater Conspiracy, Seven Spires, Eulogy (Liam, Paul H & Matt)

Suicide Silence: Become The Hunter (Nuclear Blast) [Liam True]

May 6th 2014: Cease To Exist is released as the first single from the upcoming album You Can’t Stop Me which was released on July 14 of the same year to both praise and criticism from both fans and critics alike. January 6th 2017: Doris is released as the lead single ti their upcoming Self-Titled release on February 24th of the same year. Both were absolutely panned by fans and critics for being a shoddy rushed release. Fast forward three years, Become The Hunter is one of my most anticipated releases of the year due to all singles being meaty and pure Deathcore. And I can say with complete and utter confidence that this is the album that was needed to get both their focus and reputation as their moniker of the Deathcore kings back and onto the throne.

From start to finish it’s 100% brutal in your face Deathcore, giving off vibes from both The Cleansing and The Black Crown. From the machine gun like drum work of Alex Lopez to the in your face front and centre vocal beatdown of Eddie Hermida the album comes together like glue. It’s like the album they wanted ti write previously, but whether or not they decided against it is untold. It’s full of gutturals, breakdowns and beefy stomach churning riffs that was needed for Suicide Silence to become what they once were, and what they once lost. And there’s no issue that Become The Hunter has safely re-established their place in the scene, genre and all of our hearts. And it’s a comeback album for the fucking history books. 10/10

Blackwater Conspiracy: Two Tails & The Dirty Truth Of Love & Revolution (Bulletproof 20/20 Records) [Matt Bladen]

The follow up to their 2017 debut album Shootin' The Breeze, Two Tails & The Dirty Truth Of Love & Revolution is a record that has been shaped on the road by the hard touring Irish rockers. It's a bit of mouthful but manages to capture the spirit of Phil Conalane (vocals/guitar) and Brian Mallon (lead guitar) knack of Gaelic storytelling, all of which tell tales of rock n roll excess. As I've probably mentioned before Mallon and Conalane formed this band after the break up of Million Dollar Reload taking in influences such as CCR and The Faces, to craft rock tracks born out of the blues but siphoned through country, folk and Americana. So what about the second album? Well it sticks to it's guns with some good time blue collar rock n roll, led by the excellent vocals of Phil, who locks in with Kie McMurray (bass) and Fionn O`hAgain (drums) to bring the guts to the rockier tracks on this record such as the opening Goodbye To Yesterday which is pure Quireboys/Faces boogie with Mallon's guitar and Kevy Brennan's keys trading off.

Brennan left the band last year before the release of this record however his indelible mark is all over it especially on In Another Lifetime and bubbling finale of Atlanta Smile. This is sound of a band now at peace, more comfortable with the style they have chosen, honed by live performances it's BC at full flight. With the rocking Soul Revolutionaries they pump out the power while Tattooed & Blonde brings a nod to the The Stones, Take It On The Chin has some nifty slide guitar, Just Like A Silhouette has some parping brass adding funk to the record. Great hard rock that never strays far from the roots of the genre. 8/10    

Seven Spires: Emerald Seas (Frontiers Records) [Matt Bladen]

The sophomore album from Berklee College Of Music Graduates Seven Spires is their first for Frontiers records who are broadening their horizons into the metal genre. They've jumped onto an incredibly talented act here in Seven Spires, fronted by the excellent vocals of Adrienne Cowan who most recently can be heard fronting Sascha Paeth’s Masters Of Ceremony from last year and as a touring vocalists of Avantasia. These appearances give you somewhat of an idea about what style this album takes; cinematic symphonic metal that also has some down-tuned progressively-tinged metal.

Tracks like No Words Exchanged are romantic melodic metal with swathes of keys from Cowan set against the folkier sounds and heavy metal riffage, in fact there is quite a lot of power metal tendencies to this record as the dramatic battery Every Crest and mountain top bardry of Unmapped Darkness often give way to the nasty growls and furious double kicking, which on Drowner Of Worlds does make them veer into Amon Amarth territory. Now this next sentence may seem like a criticism but it isn't.

I could class Emerald Seas as 'Disney-metal' it's like Frozen but with double kicks, a searing mixture of fantasy story-telling, unbridled romance, musical theatre and bouncy power metal which often moves into the ostentatious. Emerald Seas is a joyous metal album from this very musically talented American band, definitely for fans of Avantasia and any Sascha Paeth/Miro produced project. 7/10

Eulogy: Memento Mori (Self Released) [Paul Hutchings]

At last, the new EP from South Wales hard rockers Eulogy has arrived and it’s worth the wait. One of the hardest working bands on the scene, favourites at many of the classic rock haunts, Eulogy’s style crossed boundaries, enjoyed by those whose tastes may favour the heavier side of things whilst those who love the band’s crisp, solidly performed original compositions revel in their approach. The more eagle eyed (eared?) will notice that two of the four tracks included on this EP have been around in single format previously, but they have been re-tracked with Mike Williams adding some welcome more depth on the guitars. The EP’s title Memento Mori (Death Is Inevitable) describes the theme that runs through the four tracks, some with personal relevance to members of the band.

Opening track Cross To Bare, a song about losing someone close and dealing with loss is a powerful opener, driven hard by the thumping drums of Darran Goodwin, Neil Thomas’ superb vocals as always impressing whilst Williams’ playing includes a blistering lead break. You’ll Die Alone drips with melody, Thomas adding a melancholic edge to a track which focuses on the consequences of treating someone badly. Whilst the subject matter is dark, the song allows Eulogy to demonstrate their lighter side musically, but with a underlying steel which runs throughout the track.

Corvid changes tempo completely, a snarling, nasty edged fist pumper of a song, dealing with the moment before death when your soul is taken. The menacing feel matches the subject matter perfectly, Thomas adjusting his vocals to a lower level, sinister and malevolent. The middle section drifts into Maiden territory (no criticism at all mind), a brief interlude before the song gallops away. Once more, the melody is sublime, whilst the playing is outstanding, the rhythm section knitted tightly allowing Williams to fluidly open the fretwork. The final track is probably the most well-known song of the band, a song of hope, Blood Red Skies always goes down a storm live. Williams revisions to the guitar parts have provided a more muscular feel to the song, and it feels fresh and vibrant with this rewire. This is a welcome EP, nicely produced and a timely reminder of their quality. Still looking for a guitarist, this release should help with their search. 8/10