Reviews: Big Scenic Nowhere, Red Moon Architect, Thanatopsis, Ironed Out (Matt, Paul H, Rich & Liam)

Big Scenic Nowhere: Lavender Blues (Heavy Psych Sounds) [Matt Bladen]

Lavender Blues is only three tracks long but the title track is a whopping 13 minutes long so they are very much substance over style. This project is collaboration between Bob Balch (Fu Manchu) and Gary Arce (Yawning Man) on guitar, Tony Reed (Mos Generator) on bass, vocals, synths and guitar, and Bill Stinson on drums (Yawning Man), and this EP is a mind-expanding slice of psychedelic/progressive rock, bringing a fluid mellow sound, sort of like ethereal desert rock but with shuddering synths that take things into the mid-period Floydian realms the title track especially having those waves of synths supplied by ex-Opeth man Per Wiberg. 

As the guitars fade almost in and out of consciousness Stinson's drumming just steadily keeping everything in place for the explorative melodies. Along with those named above the record also features guitar playing from Daniel Mongrain (Voivod) and Chris Goss (Masters Of Reality), so it's packed full of sun-worshipping, fuzz-drenched riffs that often evolve into brilliant guitar playoffs, especially on Labyrinth's Fade. A true collaborative effort, you can hear each of the bands they play in each musician add to their own touch to the EP along with a  lot of Grateful Dead references but really Lavender Blues is not only a great follow up to their debut full length from January but a cherry picked journey through the outer realms of desert/space rock. 7/10

Red Moon Architect: Emptiness Weighs The World (Noble Demon) [Paul Hutchings]

The sea laps gently on the shore as a piano melancholically echoes. This calm vista is quickly overtaken by a thumping riff, the piano sounds again before crushingly heavy doom and guttural vocals take centre stage. Welcome to the impressive and massive opening of Red Moon Architect’s fifth full length album. For those unaware of the band, the Finns formed in 2011, with their debut release Concealed Silence dropping in 2012 and their last album Kuura came out last year. The six-piece play a pleasing style of melodic death doom metal and Emptiness Weighs The Most continues in the vein of previous albums. The band use clever shades of light and heaviness in their music. After the intro of Hidden, Chained is a punishing slab, with Ville Rutanen’s growling dominant. The gentler voice of Anni Viljanen are introduced on Rise, her soaring cleans the perfect foil.

Emptiness Weighs The Most contains nine tracks, a return to a more routine formula after Kuura, which features a mere three tracks, two weighing in at 16 minutes plus. Rise sees the band effectively use the keys of founder member and drummer Saku Moilanen, the lush layers adding depth and volume to the track. The Finns aren’t afraid to slow things down, Dethrone The Darkness begins with an ethereal feel before more concrete heavy riffs shatter the peace. It’s this juxtaposition which works so well across this intriguing record. The music on Emptiness Weighs The Most switches between heavy and damn heavy. The lighter touch of tracks such as One Shines Brighter and Into The Light with their gentle melodies and Viljanen’s captivating vocals contrasts with the funeral march pace of Muse, a powerful seven-minute song and the doom drenched penultimate Reform. 

The duel guitar work of Matias Moilanen and Taneli Jämsä is restrained but effective whilst Moilanen and bassist Jukka Jauhiainen have the rhythm section firmly anchored. Themes of death, misery and memories cast a typically melancholic feel across the album. It’s not something you put on for a workout but for dark nights with flickering candles and wood burning fires, it would sit perfectly. Take a moment, close your eyes and immerse yourself in an album that is drenched in emotion. 8/10

Thanatopsis: Initiation (Extreme Metal Music) [Rich Oliver]

Initiation is the debut full length album by Californian band Thanatopsis released through the Extreme Metal Music label.  Despite this being a debut album Thanatopsis were formed back in 1992 and released a string of demos between 1992 and 1997 before disbanding. They reformed back in 2015 and three quarters of the original line up plus new drummer Jason Adam Borton present to us Initiation. Initiation is a mix of new material and material which appeared back on the demos in the 1990’s and is a mix of thrash metal and progressive death metal. Considering a lot of this material was written around 1993/1994 it sounds remarkably contemporary with its mix of thrash riffs, complex rhythms and a strong sense of melody. The playing throughout is impeccable with some fantastic bass playing from Thom Hall and excellent guitar solos from Dave Couch. 

The vocals by frontman John Bishop are very much in a thrash style but reach levels of gruffness that just about cross over that border into death metal at times. The album is made up of nine songs which cover around 35 minutes. A shorter album length is beneficial as the songs are very similar in style and their repetitive nature means that not a long stands out. The songs themselves are short and compact and don’t outstay their welcome. For me the most effective songs were the ones which were more on the aggressive side such as the title track, Your Demise and the ferocious album closer Suffersystem. On the whole this is a very good album from Thanatopsis. It sounds brilliant aided by a fantastic production and mix by Juan Urteaga. The performances are tight and despite the repetitive nature of some of the songs this was still an enjoyable listen. 7/10

Ironed Out: We Move As One (GSR Entertainment) [Liam True]

Grime influenced Hardcore. That’s how Ironed Out have described themselves, but in reality, it’s Rap Metal. And it’s not even a good version of it. It’s god song good riffs to it, some good headbanging moments. But that’s where it ends, which is a shame because I'm a good supporter of the Rap Metal genre. Blending two genres together to create a new sound is always exciting. Unless you’re Ironed Out, then you just ruin it. Spanning 12 songs and 39 minutes it does drag on because all the songs sound the same. Hardcore riff, gang vocal chant of the chorus, one big breakdown per song, rinse and repeat. It’s a system that’s worked well for many bands in the past, but now it’s overdone. Ironed Out have done that.

To be fair there are a couple of good things about the album. The riff work from guitarist’s Steve & Mark create some nasty stringed sounds. The drum work from Jorge is simplistic yet stylish. And that’s that. The vocals don’t fit the sound of the band at all. Props to the band for trying Grime & Hardcore, but it falls flat of anything good. 2/10

Reviews: Mörk Gryning, Hellripper, Tibetan Sky Burial, Vesta (Matt & Paul S)

Mörk Gryning: Hinsides Vrede (Season Of Mist) [Matt Bladen]

After 15 years of biding their time in the shadow realm, Swedish band Mörk Gryning emerge with their razor sharp extreme riffage, sharpened, polished and ready to take the heads of anyone who listens. As mentioned this is their first album since 2005 and it feels as if theses legends of the scene haven't lost  step Goth Goron (bass, guitar, keys) still leading them in their pursuit of supremacy in the black metal realm but he has been reunited with the other founding members of the band Draakh Kimera (drums, guitars, keys, lead vocals) and Avatar (lead guitar, vocals) so Hinsides Vrede can be seen as almost a re-birth for the band, trying to rekindle the fire and fury of their cult debut album with this sixth record that translates to 'otherworldly wrath.' 

This is what you get as Hinsides Vrede explodes out of the stereo with Fältherren and The Night showing those tremolo picked riffs and virtuoso solos that the band have been associated with as well as their ear for the melodic on Sleeping In The Embers along with the wonderful Black Spirit as song that features Goth on lead vocals and guest vocals from Laura Ute. If I were to make a comparison I'd say Cradle Of Filth would be the one that stands out, although without the pig squeals. The multitude of small intermezzo's like the piano-led For Those Departed are used to link the album together adding artistic flourishes to the straight up black metal sound. After a 15 year wait Mörk Gryning return with a furious melodic black metal record that will please anyone that has been waiting in anticipation for this record. A welcome return. 7/10 

Hellripper: The Affair Of The Poisons (Peaceville Records) [Paul Scoble]

Hellripper have been making music since 2014. Hellripper do exist as a live band with a full line-up, however on record Hellripper is James McBain (not to be confused with the action hero character from The Simpsons) playing all the instruments and vocals. The first material released by Hellripper was an EP released back in 2015 called Manifestation Of Evil, then there followed several splits and a compilation of the EP and split material called Complete And Total Fucking Mayhem. Hellripper released their first full album in 2017, called Coagulating Darkness, and followed this with the excellent Black Arts And Alchemy EP in 2019. So, have Hellripper managed to keep up the high level of quality that has characterised their career with this new album? Hellripper play a very Blackened style of Thrash that feels rooted in the mid nineteen eighties. 

There are elements of early Slayer, Early Sodom, Early Kreator as well as having a healthy dose of NWOBHM melody and tunefulness and an attitude that is reminiscent of Venom or Motorhead. There are also obvious parallels with with more modern Black Thrash acts like Toxic Holocaust and Aura Noir. However, having mentioned a lot of other bands, Hellripper definitely have their own sound, and those references are just to give you an idea of what the band sound like. As you’d expect from Black Thrash all the material on the album is really fast, there are only about 2 or 3 slow sections on the album, and even the mid-paced material is dwarfed by the amount of full throttle, savagely fast thrash. Probably the fastest and most unhinged track on The Affair Of The Poisons Is Beyond The Convent Walls which has a similar feel to early Slayer, it’s an almost ridiculously fast adrenaline fuelled blast of fast riffs and ripping solos (or should that be Hellripping solos?). Which brings us on to the soloing on this album, which are all fast, frenetic and full of energy, whilst at the same time being appropriate for the song and never detracting from the thrash. Some of the thrash on here really does transport you back to the early days of thrash. 

Vampire's Grave has an opening riff that reminds me of classic Motorhead, it’s a song that would fit in with a lot of the material on Ace Of Spades. Savage Blasphemy has a lot of NWOBHM melody in it, and combined with the fast riffs this gives the track a feeling that is reminiscent of Kill ‘Em All Metallica. There is a definite Punk sense to some of the material as well. The tracks Spectres Of The Blood Moon Sabbath and Blood Orgy Of The She-Devils both have this simpler feel to the riffing that is so Punk. Both tracks are filled with cracking, spikey riffs, that remind you why crossover thrash is so exciting. The Affair Of The Poisons is a great piece of Thrash Metal. It’s packed with energy and drive, full of tight riffs, ripping solos and exuberant, effervescent tempos. What is really great about this album, is it’s fun, life affirming and it puts a huge smile on your face. This album could pull people out of comas its so full of life, anyone who can listen to this and not head-bang must already be dead. If you are looking for a massively energetic blast of an album; then this is it. 9/10

Tibetan Sky Burial: Lamenta (Self Released) [Matt Bladen]

With a ringing dissonant chord and multi-layered roar we have the debut record from Texans Tibetan Sky Burial, not the kind of band to wish you Namaste, Lamenta is a raging, torrid, piece of emotional record which is conceptual piece dealing with the five stages of grief: denial, anger, bargaining, depression, and acceptance. Now in the current climate many of these will feel very real to a lot of people as many of us are dealing with some kind of grief. So with now added resonance Lamenta is an album that may act as some kind of catharsis for those struggling, especially if they enjoy the crushing atmospheric blackened post metal of Ba'al, Inter Arma et al. Tracks such as Scorned beat you around the head with the sheer unbridled aggression that evolves into the more down-beat atmospheres on songs like Flesh Rot. Produced & recorded by Kfir Gov at Evil Snail Studios in Austin, Lamenta is a strong debut from Rick Fernandes, Bryan Stevens, Healy Rosman, Shane Wallin, Rom Gov channelling suffering and strife into musical aggression. 7/10 

Vesta: Odyssey (Argonauta Records) [Paul Scoble]

Italian three piece Vesta have been making huge noises since 2016. The band, featuring Giacomo Cerri (Seed'n'Feed/Dinelli & SNF Ensemble/Foolhouse/La Lisca) on Guitar and Loops, Sandro Marchi (La Iena) on Drums  and Lorenzo Iannazzone on Bass, have made one album before Odyssey in 2017’s self titled album Vesta. Vesta play a mix of Doom and Post Metal, with maybe a little bit of straight Hard Rock injected into the mix. The other aspect of Vesta’s sound is the lack of vocals; Vesta are a purely instrumental band. The different styles present on Odyssey, tend to be mixed together, so all of the tracks have some very huge doom riffs and also Post Metal sections with clean guitar layered together. Opening track Elohim has some great doomy riffs, it opens with a slow build up to some nicely massive Doom riffs in a sort of 6:8 time signature, before the tempo increases and we are in huge and bombastic territory. The doomy aspects of Odyssey are very effective, to me there seems to be a little bit of influence from Crowbar in places, Sleep in other places, and coming somewhere between the two there is a little bit of similarity with Pallbearer. Although Vesta clearly have their own sound, there reminiscence to these bands in some of the riffing. 

The middle section of Breach is a good example of the Post Rock aspect of Vesta’s sound. After some huge and expansive doomy riffing, the song takes a turn towards softness and introspection. The Post Metal section features clean guitar riffs, layered together, the feeling is relaxed and cathartic. The song then builds back up for a huge and heavy ending. The best example of the Hard Rock feel on the album is probably the final track Cerere. The song has taut, tight rock feel, the riffs are less relaxed than the doom riffs, and the tempo is slightly faster and more driving. Odyssey is a great mix of Doom, Post Metal and Hard Rock. I find with instrumental albums that if I start to wonder where the vocals are, it probably isn’t that good. However, if I just enjoy it and get into the album without wondering where the vocals are, then it’s almost certainly a great album. When I listened to Odyssey, I didn’t think once “Where are the vocals?”, I just enjoyed the fantastic riffs, the beautiful introspective Post Metal sections and definitely nodded my head to the Rock swagger. Which means that this is a great instrumental album! 8/10

Reviews: Joe Bonamassa, Raging Speedhorn, Rusty Eye, Mors Principium Est (Reviews By Matt Bladen)

Joe Bonamassa: Royal Tea (Provogue Records)

Joey Bones returns with his new record and even though recently he has been indulging in American Big Band, instrumental Jazz side projects and a myriad of styles. The spirit of that young guitar slinger who burst onto the scene with, the recently re-released New Day Yesterday, was a New Yorker heavily influenced by the British Blues scene spearheaded by John Mayall & The Bluesbreakers, Jeff Beck, Eric Clapton & Cream. Maybe it's due to A New Day Yesterday's re-release but things seem to have have come full circle with his 14th studio album Royal Tea, recorded at Abbey Road Studios, Bonamassa going back to his musical roots with some hard driving, soulful, British blues rock. We ge 10 original tracks kicking off with the 7 minute When One Door Opens, we go into the music that burnt strongly in the heart of that guitar slinging kid all those years ago.

With powerful, emotional numbers such as Why Does It Take So Long To Say Goodbye the thundering Lookout Man and the 43-year old is rediscovering his heroes, filtering it through the incredible talent and world weariness he has now.  Co-written with former Whitesnake guitarist Bernie Marsden, ex-Cream lyricist Pete Brown and Jools Holland, the record really sizzles with that British Blues Explosion power as tracks like High Class Girl and the flashy A Conversation With Alice has a gutsy almost Southern swagger to it (maybe it's the slide guitar) and I Didn't Think She Would Do It sees the band in some Cream-esque psych-western freakouts. Once again produced by Kevin Shirley and backed by his insanely talented touring band of Anton Fig (drums), Michael Rhodes (bass) and Reese Wynans (keys), along with the soulful backing vocals and brass section he now  Royal Tea is Joe Bonamassa showing to his old fans that he hasn't forgotten where he came from and for new fans, used to his more eclectic sounds, it's a seasoned pro delving deep into the history of the blues. Stylish, sophisticated but most of all honest to the source material, Royal Tea is another superb blues record from Bonamassa. 8/10  

Raging Speedhorn: Hard To Kill (Red Weed Records)

The veterans of the UK heavy scene Raging Speedhorn have mostly been on pretty much any festival bill you'll have seen in the last 10 years, they get everywhere delivering their thunderous brand of hardcore/sludge influenced groove metal to pack crowds. They are very much a band with 'cult' status inspiring near worship and devotion from their faithful fans. Since their reformation a few years ago they have really upped their appearance schedule and this has been reflected with their previous release Lost Ritual which cemented the come back. However there have been some line up changes since then with guitarist Dave Leese and former Hundred Reasons bassist Andy Gilmour joining guitarist Jim Palmer, and founding drummer Gordon Morison. 

This isn't the only change though as Dan Cook picks up the co-vocalist role alongside founding co-vocalist Frank Regan, he replaces John Loughlin who left the band after 21 years. So with these changes in place and with potted history it pretty easy to see why this record is called Hard To Kill. Musically then the record is classic Speedhorn full of Diamond-hard grooves, raging firestorm riffs and slow heavy doom-laden numbers that are like audio black-treacle, Hard To Kill (the song) unleashes face breaking aggression, while first single Snakebite brings that oh so familiar groove, welcoming you like an old friend. But as I've mentioned we go into the crushing waves of doom for aptly Doom Machine and the steel beating Hammer Down. Dan Cook makes his mark as an ideal foil for Frank Regan both of them spitting venom throughout blending as one unit on ragers like Brutality. I mean the cover of T-Rex's Children Of The Revolution is wholly unneeded but the remaining 8 songs on this album are Raging Speedhorn doing what brought them to the dance, Hard To Kill indeed. 7/10    

Rusty Eye: Dissecting Shadows (Bloodblast)

Another addition to the Bloodblast distribution network are LA/Mexican trio Rusty Eye. Originally from Mexico City they now reside in Hollywood and the spirit of cinema is never far from this new record. Albeit the type of cinema they are focussed on are Italian Schlock-Horror B-Movies and the exploitation/Grindhouse flicks that Quentin Tarantino has based his career on! To deliver this grimy, often blood drenched lyrical influence the music needs to match and Rusty Eye's music is dirtier than a Miner in a Coal Pit! Easily showing influence of bands such as Sir Lord Baltimore, Blue Cheer and our own Budgie they also bring quite a large amount of punk raging. (Defacing Effigies)

It mainly puts then in the same kind of dirty biker rock sound as Admiral Sir Cloudselley Shovell, Gentlemen's Pistols and at times even Orange F'kn Goblin but with the occasional foray into something that makes the listener prick up their ears and think "what was that?" Be it some black metal tremolo picking or some haunting synths which creep in at the end of Can't Wait To Go To Hell and drive a prog metal sound on the title track.

The key to the band forging a unique sound is that while Baron Murtland plays some mind expanding solos and lead explorations Mr Rust (bass) and Miss Randall (drums) not only power the gritty riffs and rhythms which move between crunchy biker rock grooves, through thrash metal and into black metal ferocity but also share vocals Miss Randall having a sneering clean voice opposed to Mr Rust's more extreme growls that both lend themselves well to this album menagerie of styles. Defiantly D.I.Y and fearlessly independent of any genre labels Rusty Eye's music sounds as if The Ramones and Motorhead made a film soundtrack jamming with Voivod and John Carpenter, it's clever, interesting effortlessly cool Dissecting Shadows is unlike many albums you'll hear this year. 8/10

Mors Principium Est: Seven (AFM Records)

Surprisingly Seven is the seventh album from Finnish melo-death mob Mors Principium Est  and after six previous efforts the bands trademark use of bombastic symphonic touches and guitar heroics EVH (R.I.P) himself would be proud of. Obviously being Finnish the main reference point would be  Children Of Bodom but Mors Principium Est have greater depth to their sound than COB, meaning that they could easily be the band COB fans will latch on to now, of they haven't already. MPE do deserve the same kind of worship COB seemed to garner as for me they are the better band, not just vocally but playing wise they have that virtuoso edge, with keening lead breaks and mind melting solos but also their songs bring with them more intricate playing in the rhythms to the point that they almost get progressive. 

Much of this scope is due to the band being a two piece in the studio, Finn Ville Viljanen the screams/growls and production while Brit Andy Gillion is the six string wizard that handles the guitars and programming. While the lyrics on this record are somber and downcast the music is anything but keeping the album moving at Warp One seldom dropping out of hyperspace unless required to it's necessary to add some atmosphere or where the synths are used to full effect. Equally brutal and melodious Seven continues MPE's journey at the leading edge of the Scandi melodeath sound. When things get back to normal they are heading out on tour with Wolfheart and on the strength of Seven there will be many a pit induced. 7/10

Reviews: Lord Almighty, Blasfeme, Victorius, Reaper (Reviews By Matt Bladen)

Lord Almighty: Wither (Self Released)

Occasionally you get a band who are by design very difficult to classify in one genre or another. This often makes them brilliant to listen too but annoying as hell to review as we writers do like things to be clear cut. However from their PR gives a hint towards what you can expect with mentions of Darkthrone, Mastodon, Thin Lizzy and ZZ Top, now that is eclectic! It's also strangely accurate as Lord Almighty are very much rooted in the blisteringly fast black metal assault, the tremolo picking and frenetic blast beats of Cry Of The Earth lull you into this sound very quickly however no sooner are you reaching for the corpse paint than they shift into something different such as the echoed hardcore-influenced sludge riffs of Sun Down or the slower more doomier tones of Rise. 

So while the majority of the music here is black metal centered Wither is a progressive album in the truest sense the songs evolving as they progress moving between the frantic picking and downtuned proggy sludge riffs to cleaner sections that are influenced by that classic NWOBHM gallop and even some soulful blues playing which not only catches you off guard but comes organically never feeling forced, for instance Hour By Hour has that trad metal pump to it that segues nicely into the bouncy title track which closes out with some beautiful acoustic guitar playing. These Bostonians have created an album that blazes a trail all of its own, though with soundscapes that will be very familiar to listeners they are delivered in way that surprises and excites. 8/10 

Blasfeme: Iniquity In Salvation (Wulfhere Productions)

Moord (guitar), Mettle (bass/vocals) and Striga Hell (drums) are the three damned souls that make up Bristol based black metal band Blasfeme. Their raw-yet-melodic, nihilistic black metal assault is filtered through death metal aggression and they have been impressing on the South West/Wales live circuit for a good few years. Iniquity In Salvation is the band's debut full length album following on their EP Path Of Despair in 2017, it has been formed on the stages of the UK the band honing their assault ready to unleash this full length upon the world. So in 2020, the world exploding around us the hellmouth has opened and Iniquity In Salvation is what it has spawned. Not for the faint of heart from the face melting opening of The Begotten Realm to the more cinematic closing piece Reditus Ignomiaiam Internecion the frenzy seldom relents.

Each track is accentuated by shorter pieces that are used as linking songs to keep the flow and work as intros as well with acoustic lilting on Tyranny Dethroned and The Descent adding to the atmospherics before things explode once again on Purgatised In The Veil. Lyrically the themes are what you'd want with occult, horror, paganism and Satanism as musically the band are very much in that early stages of black metal, (that 2nd wave Scandi scene for completists) from the rough and ready production to the alternatively growled screamed vocals the songs like The Mortal Trance batter everything in their path showing that death metal connection too, though Azaloth's Gift adds a discordant sound. If you indulge in Blasfeme's debut album then prepare to be assaulted by it, there's enough hammering heavy metal for Brunel to get excited about here so if you love your music at the outer edges of extreme then Iniquity In Salvation will be your latest set of unholy hymns to get down to. 8/10  

Victorius: Rise From The Flames (Self Released)

Not to be associated with the German power metal band of the same name, this Victorius were formed in Scotland in 2006 but after several successful support slots, fate intervened and the band split due to personal differences. However as is the way with these things usually in 2016, drummer Ryan Shepherd vocalist/lead guitarist John Brandon and bassist John Gibbons all got back together due to social media and with the addition of guitarist Arroll Kelly they came a close second in the Glasgow M2TM and then set about writing this debut full length, which was finished during lockdown along with enough new material for two more albums. Since the reformation Kelly has left replaced by Stewart Kennedy on guitar but the musicals style of the band has stuck resolutely to the classic NWOBHM/Thrash template. 

Rise From The Flames is a prophetic title that speaks about the band's return from the embers and they are certainly ablaze as Breaking Down The Walls opens with a style of riff you will have heard numerous times with Maiden looming large, though John Brandon's vocals are a little more in the Papa Het style, though occasionally he goes up into the higher realms. To The Death actually reminds this writer of 'Tallica's Motorhead covers, while Bleed For Me is probably the albums best track as powerful slow burner that starts off the longer, more technical songs to close out the record. 

What's instantly obvious from this record from the outset is that often when bands split (and reform) it's because they originally had little talent but now have more free time (sorry it's true). However in this case Victorius have bag-full of talent the rampaging rhythm section of Shepherd, Gibbons and Kennedy is bouncy and slick, shifting between those trad NWOBHM and speed metal runs while Brandon's lead playing erupts with melodic brilliance also linking in to some lush twin guitar harmonies. 

As well as the great performances the songwriting too is very good, yes they are well worn tropes but when bands such as Cauldron, Enforcer, Striker are all doing this sort of thing over in continental Europe it's nice to hear a UK based band jumping on the NWOTHM bandwagon to great effect. After a long wait Rise From The Flames is a worthy debut from this Scottish metal mob. Well worth seeking out! 8/10

Reaper: Stranger Than Fiction (Self Released)

Back in 2018 Rich gave Liverpudlian 'progressive' thrashers. first album Birth Of Chaos 8/10 calling it an "all you can eat buffet of absolutely relentless riffs". So will Reaper offer up another tasty morsel of thrash for us to devour with their second album Stranger Than Fiction? Well the short answer is a resounding yes. After a short intro it's the furious Sigil that gets things really going, with razor sharp guitar playing of Daniel Moran and Anthony Dalton the real focal point of this record much like it is on those more technically proficent thrash albums from bands such as Testament and Megadeth, a band Reaper cleary take a lot of influence from especially with Daniel's vocals and their usage of more progressive tones where the tracks like Upon The Sun move into acoustic flourishes ramping up the progressive nature of the band, as does the choppy Flight which shifts between multiple riffs at pace linking them together with an anthemic chorus. Now I've mentioned before that thrash really has to hit right with me to really enjoy it and Stranger Than Fiction really hits right especially on Afterlife and the very proggy Walk The Sky. It seems that the buffet is back open ready for hungry thrash fans to gorge, enjoy the musical feast! 8/10

Reviews: Benediction, Kingdom Of Giants, Adamantis, Mad Dog (Rich, Liam, Simon & Lucas)

Benediction: Scriptures (Nuclear Blast) [Rich Oliver]

After a twelve year gap, UK old school death metal heroes Benediction are back with their eighth album Scriptures. It also heralds the return of former vocalist Dave Ingram who was frontman of the band during the band's best era and featured on their finest albums including the legendary old school death metal classics The Grand Leveller and Transcend The Rubicon. It is this classic era of the band which is very much channelled on Scriptures and it is an absolutely glorious 47 minutes of uncompromising old school death metal.

Had this album not been recorded with 21st century technology you would be convinced that this album was written in the early 90’s. It is a perfect encapsulation of the death metal of that period with filthy riffs that veer into thrash territory, a pounding rhythm section and plenty of that dirty old school death metal groove. The return of Dave Ingram has definitely relit the fire in the band with original guitarists Darren Brookes and Peter Rew playing with the energy and intensity that they had in their youth. The songs they have crafted are purely designed for maximum damage to necks as it is virtually impossible not to bang your head throughout this album with killer tunes such as Scriptures In Scarlet, Progenitors Of A New Paradigm, Rabid Carnality and In Our Hands, The Scars guaranteeing a bitch of a bangover the next day.

I love my death metal simple, straightforward and sounding retro as fuck as Benediction deliver on all counts with Scriptures. This album has bags of energy and the songs are so much fun to listen to that this grizzled metaller had big grins on his face throughout. The album does lose a bit of steam towards the end due to its repetitive nature but you generally know what you are getting with an old school death metal album and whilst repetitive it is remarkably consistent throughout. Benediction have given us old school death metal fans 47 minutes of pure joy in 2020 and it is easily one of the best death metal albums of the year. If you enjoy bands such as Massacre, Bolt Thrower, Cancer and Asphyx then get on this immediately. 9/10

Kingdom Of Giants: Passenger (Sharptone Records) [Liam True]

The new age of Metalcore ha proved to be a hit and miss for many bands, as they either adapt to the newer style of stay stuck in the 2000’s, which ends badly for them. Kingdom Of Giants were formed from the remains of an unnamed band back in 2010 and have quickly adapted their sound to fit into the new age of heavy music. Sounding like the bastard love child of While She Sleeps and Architects they show they have the heavy hitting songs to make them one of the biggest bands in the scene. The northern californian sextet show on their third studio album, and their debut on Sharptone Records, that they can withstand the plight of the falling scene. 

From opener Two Suns the band begin ripping you apart as the start of the album is a build up to the band exploding into guitarists Max Bremer & Red Martin creating a heavy monster riff and drummer Truman Berlin hits harder than a punch from Mike Tyson to cause as much destruction as possible. By the time vocalist Dana Willax, the band have launched into their signature chugs but show they can create chorus after chorus with Sync, Burner & Bleach having the catchiest. The mix of heavy & melodic song writing on the album is the defining component that brings the record together. From the vicious vocals from Willax he also proves he can serenade you before hitting back with his snarls and growls. 

The guitar work is excellent from all players as they intertwine the chugs with the soothing chorus parts with the heavy punishing riffs to mark their stance within the album. From start to finish it’s the album that Metalcore needs at this time to resurface the genre to it’s soaring popularity. And with other contenders rising to the throne, Kingdom Of Giants have marked their place as a force to be reckoned with, and are climbing to the top. 9/10

Adamantis: Far Flung Realm (Adamantis Records) [Simon Black]

Adamantis hail from Massachusetts, USA, have been around building up a following for a few years, with support slots with the likes of Gygax and Ross The Boss and this is their debut album. It’s been four years in the making, with only an EP in 2018 to keep up their profile and the first release with new singer Jeff Stark. Musically this is pure European style Power Metal, and as often the case with USA Power acts, a clearly audible line back to those NWOBHM architects of the whole movement. They have had a number of challenges stabilising a line up and this one seems to work, with Stark being the final piece of the puzzle. Mixing duties are handled by Christian ‘Moschus’ Moos, which no doubt contributes to the Euro sound, but the band seem to know how to keep things focussed and although there’s plenty of speed and skill, this is not in any way a showy recording. The instruments do what they need to – no more, no less, and the song structure comes first. 

The danger with wearing your influences brazenly (and this album screams Blind Guardian, Gamma Ray, Manowar and others so very, very loud) is that there are few moments when they distinctively stand by their own sound. Now, that might work in the States where these influence acts are a scarce sight, but in Europe this may prove a challenge for them to be distinctive from the competition. That said, when they do stand on their own two feet, they do so well. Imagination for example, takes things into more epic territory with a distinctive catchy harmonic opening and closing riff with a simple power chord rhythm, dripping in reverb and proving that you don’t need speed and virtuosity to create effective movements. It’s also lyrically one of the moodier and most effective moments. Perhaps what is missing here is the confidence to put the influences in the background and focus on their own unique sound. 

The first song on the album, Unbound Souls is another example. The speed and riffage is a bit more up tempo, and the vocal harmonics are more effective and distinctive. I have no idea of the relative ages of all these songs, but I am betting that when you have been gestating your first album for four years that some of these have some history associated with them, and the two songs I draw out sound very different and indicate a bit more maturity. So, I am listening, and let’s see what a second album brings, but in the meantime take the good bits from this one and enjoy. 6/10

Mad Dog: We Are Ready To Testify (Go Down Records) [Lucas Tuckwood]

In an ever complicating world of new, daring variations on the traditional rock and roll formula, it’s often hard to even think about turning the clock back fifty years and getting into that old fashioned groove. That’s what the spritely Italians Mad Dog are trying to do with their fresh album We Are Ready To Testify, but unfortunately they fail to hit the mark. The problem with traditional 70s rock and roll is keeping true to the roots, but also adding that spice that separates it from the rest. It’s a delicate tightrope act, and unfortunately Mad Dog fail to complete the trapeze. Now three albums in, their musicianship certainly speaks volumes of their experience, but still lacks that special something. Of the ten tracks, none really stood out, despite their best efforts. 

The energy’s here, no doubt about it, but what’s missing is any sort of bite that’ll keep listeners coming back for more. They’re going for that classic garage band feeling, but there’s none of that essential grit on offer here, and what you’re left with is a dull album from a band that ought to shake things up a little bit, and songs that you’ll swear you’ve heard a thousand times before. In all, this album is quite a bore, only redeemed somewhat by good musicianship. The ingredients are here, but the lack of any real creative oomph really holds it back from being better. As it stands though, there’s cats out there madder than these dogs. 5/10

Reviews: Infera Bruo, Inferi, Aphonic Threnody, Vice Squad (Rich, Dave, Paul S & Alex)

Infera Bruo: Rites Of The Nameless (Prosthetic Records) [Rich Oliver]

Rites Of The Nameless is the fourth album from Boston black metallers Infera Bruo (which means Hellish Noise in Esperanto). Another band whose existence I have previously been unaware of, Infera Bruo are a four piece, have been active since 2009 and are signed to Prosthetic Records. Although a US based black metal band Infera Bruo have a very Norwegian influenced sound with definite influences from bands such as Enslaved, Darkthrone and Emperor but include in their sound a use of clean vocals in contrast to and at times alongside the harsh vocals and a far more progressive song structure is used throughout. 

The Breath Of Chaos starts things off and is more in the vein of traditional black metal but progressive elements creep in soon enough and these elements become more ingrained into the sound as the album progresses. Frayed has a wonderful mid section which deviates from the rest of the song but is incorporated naturally whilst Cimmerian Shade has some great use of keyboards and some unconventional structures being the most progressive sounding song on the album. The closing epic title track is also a fantastic mix of progressive stylings and all out black metal fury. Infera Bruo have an excellent take on the Norwegian black metal sound on Rites Of The Nameless. The progressive elements keep things interesting throughout the album's length whilst not diluting the raw black metal sound. An impressive release. 8/10

Inferi: Of Sunless Realms (The Artisan Era) [Dave Marcovecchio]

After releasing a re-recording of their 2009 debut The End Of An Era – Rebirth only last year , Of Sunless Realms sees US Melodeath Heavyweights Inferi returning with an unexpected EP of new material. “We have been hinting at a new full length for a while now.” the band says , “However, since 2020 has had its fair share of surprises already, we thought we would do something unexpected and make something happen during this global downtime.” As it stands describing this EP as “Something happens” is a gross understatement. From the off we are treated to an atmospheric intro that mirrors the artworks eerie lovecraftian mood before exploding into a frenzy of razor-sharp melodic riffs, sweeping orchestral arrangements, syrupy bass and piercing blastbeats. 

Vocalist Stevie Bosier flits effortlessly from pounding gutturals to high pitched squawks, while the music is tight, punchy and everything one would expect from a band of this calibre. This ain't no quarantine rush-job, this has had some serious effort put into it. The 4 tracks on offer (5 if you're nasty and count the melancholic instrumental mantra aptly titled The Summoning, as a track in it's own right) showcase a broad range of influences and musical flavours, from slower deliberately paced soaring parts, to a full on assault on the senses. The orchestral touches, while not as in your face as acts such as Fleshgod Apocalypse or Septicflesh, certainly add some flavour and give every track here it's own identity. It's short, but incredibly sweet. 

Of Sunless Realms showcases a band at their peak cramming an albums worth of ideas into a 20 minute runtime that invites repeat listens. Repeat listens it will most certainly get! Every song here is a standout and manages to fulfil the rare feat of being technical, without being soulless and artificial. These 4 tracks show off more life than some of their contemporaries entire discographies. 9/10 

Aphonic Threnody: The Great Hatred (Transcending Obscurity) [Paul Scoble]

The last couple of years have been really good for Death/Doom. Last years Officium Triste’s album The Death Of Gaia was a stunning piece of work and The Drowning’s The Radiant Dark, released at the end of last year was superb, and this years new Marche Funebre album Einderlich has also been very well received. You could forgive Aphonic Threnody for being a little nervous of releasing their new Death/Doom into such a high quality field. However, if Aphonic Threnody are nervous, they don’t need to be as The Great Hatred is stunning, and definitely hold it’s own amongst it’s high quality peers. The band have been in existence since 2012, The duo is made up of Juan Escobar C. (Arrant Saudade) on Vocals, Bass, Guitar & Keys and Riccardo Veronese (Towards Atlantis Lights, Dea Marica) on Guitars. The band have made 2 albums before The Great Hatred; 2014’s When Death Comes, and their second Of Loss And Grief in 2017. Locura opens the album. Slow, deeply melancholic doomy riffs with harsh but not aggressive vocals draw you into the album, there is a softer more minimalist section with keyboard swells and soft, smooth vocals. The track gets heavy again and drifts to an end with beautiful mournful melodies. 

The next track Interrogation opens with soft guitar and whispered vocals before going into a very slow and heavy section with harsh vocals. A huge melody lead comes in and, combined with the relaxed tempo gives the song a hypnotic and trance inducing aspect. The second half returns to the heavy and slow feeling, but this time with a great melancholic guitar harmonies before the song tightens up for a section that feels taut, driving and purposeful. Things come to an end with soft, clean guitars and bells. Title track The Great Hatred has a soft opening before a slow, heavy and purposeful section drives the song forwards. The track then takes a turn towards a more relaxed form with a big heavy-hearted melody. The song then starts to get faster and more driving and forceful before drifting back to softer and relaxed feel that it had before. The song drifts to an end with a soft and ethereal violin. The second half of the album starts with Drowning. Drowning is a huge, deeply melancholic monster of a track. Most of it is huge and heavy, but the tempo is relaxed, dreamlike and hypnotic. The song has a mix of clean and harsh vocals that really help the dreamlike quality of the song, the clean vocals help to give this a slight gothic feel. In the second half of the track the hypnotic feel takes a back seat and the track becomes more driven and single minded, and pushes the song forward. The track returns to the more dreamlike aspect before the song drifts off to an end. The Rise Of The Phoenix opens with a huge riff and piano, at a very slow pace. There are lush harmonies added before the track becomes minimal and introspective with whispered vocals. The song then builds back up, the harsh vocals return as does the piano. 

The song then moves between huge and heavy and minimal and introspective a few times before soft guitar harmonies bring the song to an end. Final track The Fall opens with beautiful guitar harmonies, piano and vocals are added and the track has the hypnotic and dreamlike tempo that this band is so good at. The song becomes more driving and even verges on aggression as the song drifts into its second half, before the song returns to the drifting and hypnotic sense with a mournful guitar solo and the return of the piano. The song and album come to an end with some huge guitar melodies. The Great Hatred is definitely a very worthy addition to the last few years tally of excellent Death/Doom albums. Its achingly melancholic, with a beautiful, hypnotic feel to it. The balance between the heavy aspects and the less aggressive, dreamlike elements is done so well, nothing feels out of place, every note is right. This is an album that is full of emotion, ok it’s a fairly sad emotion, but after a couple of listens it really starts to be affecting. This is also an album packed with tunefulness and melody, I have been humming most of the tracks on this album this week, it really doesn’t take long before the tunes are stuck in your head. This is a stunning piece of Death/Doom, and is highly recommended. 9/10

Vice Squad: Battle Of Britain (Last Rockers Records/Cargo Records UK) [Alex Swift]

One fact I was surprised to find about Vice Squad is they have been part of the UK punk scene, almost since the beginning. The raucous and energetic three-piece was launched in 1979 in Bristol. Now on their 13th studio outing, they have a revitalized charm and strong emotions about the divided country Brexit and endless tory rule has turned the UK into. Make no mistake, this is retro-infused, classic punk, inspired by political discontent and trailblazers in the form of the Clash and The Stranglers. Singer Beki Bondage has a rough voice, evoking movements of Riot Grrrl and grunge. The rhythms are catchy and driving. There’s a strong underground fascination, yet also huge opportunities for singing along. In fact, considering the ambitious elements on display, it’s quite impressive to know that this was recorded and mixed in a do-it-yourself style home studio. In that sense, old-school punk fans will definitely thrive off hearing this call back to the sound that inspired generations and continues to have a lasting impact. 

All that said though, there are borrowings from pop, a strong theatrical presence on many of the tracks, and a powerful, layered production which adds gravity to the vicious, angry style of playing. You Can't Fool All Of The People is a great example of excellent and mature songcrafting. The song is a slow burner with a lot of emotion. I would have liked to have seen more of this complexity, yet even with its homages to the classics, this is still an impressive record. The content is of course about harsh social criticism. Born In A War contains the lines "National emergency, questioning for liberty, see how they treat refugees, that's how they would tread you and me." All the while the song structure keeps the listener locked in a constant state of tension, with the seething verses and the huge chorus. The Battle Of Britain not only protests against the prevailing politics and its grievances but also has a heartfelt, introspective core, which connects the listener with the human side of their struggles, as does the energetic When You Were Seventeen. The line from the former “The government has lied, welcome to Britain!” demonstrates a cynical yet strangely sarcastic attitude, which begs the listener to rise against the “suited hypocrites”. 

Even with the prevailing and conviction-carrying lyrics, you can still mosh to the music. The instrumentals ensure that there are clever subtleties laced throughout, which prevent the songs from drifting into monotony, even with the enduring hooks and melodies. Interestingly, despite a few moments feeling forced the band almost always manages to still have something to say after all these years without appearing frustrated or clichéd for a second. With the Battle Of Britain, Vice Squad present a strong late work. The sound is not being revolutionized, but hey - we're talking about a punk rock band that came around near the centre of the movement. By those standards, this is another battle that these musicians have triumphed in. 7/10

Reviews: Pure Reason Revolution, Tyler Bryant & The Shakedown, Cranial Separation, The Unguided (Matt & Paul H)

Pure Reason Revolution: The Dark Third (Inside Out Records) [Matt Bladen]

After releasing their first album in nearly 10 years it was only a matter of time before electronic prog rock twosome Pure Reason Revolution's sort after discography would start reappearing. Rather aptly Inside Out Music have re-issued their impressive debut album The Dark Third, now having bought this album when it first came out I will try very hard not to just rant about how I enjoyed it as it's been in the public domain for a long time and as such contains some of the PRR live favourites, what I'm going to do here is explain why it's worth seeking out again. The Dark Third is an album that basically saw PRR's sound fully formed, balancing that new wave of arty progressive rock spearheaded by Porcupine Tree et al with influences such as EDM and Trip Hop (parts of this record are almost Portishead-esque). 

As with their latest release the driving force here Jon Courtney who plays guitar, bass, keys and gives programming too his lower soulful tones work brilliantly in conjunction with Chloe Alper's more ethereal voice and her intricate basswork. If you've heard Eupnea then you'll know how well they compliment each other but it's here that you can hear that initial collaboration that they were striving to repeat on Eupnea. Masterfully recorded and produced by Paul Northfield (Rush, Porcupine Tree), the record flows almost in a dreamlike narrative, linking to the concept of the title which alludes to, the third of a person's life spent asleep and dreaming. It's a stunningly accomplished debut record and while their sound shifted as on the next two this remains the foundation of the band. Just as a heads up that this is the reissue of the Inside Out re-release in 2007 which features the U.S tracklist, not the original U.K tracklist, but is does also include the second disc which is a 5-track EP based around Aurelia by Gérard de Nerval. Well worth picking up if you are new to PRR, discovered them on Eupnea or indeed are completist/haven't been able to get a copy of this. The entire Pure Reason Revolution experiment was birthed from this record so it stands as a slice of history, and a damn good album to boot. 9/10   

Tyler Bryant & The Shakedown: Pressure (Snakefarm Records) [Matt Bladen]

Pressure is the second album from Nashville rockers on Spinefarm's imprint dedicated to Southern/Blues/Rock. Coming less than a year after their previous release Truth & Lies, Pressure, like The Struts album above, is a lockdown record born out of frustration, focus and the inability to tour. Recorded as a trio Bryant handles guitar and bass, with Caleb Crosby (drums) and Graham Whitford (guitar) the other two members on this record. Pressure is not a victim of it's circumstances, in fact it's Tyler and co playing their most hard rocking, diverse album yet. There's slide playing blues on Hitchhiker, some muscular balladry on Holdin' My Breath which features Charlie Starr of Blackberry Smoke (a major influence on that can be heard here), while Like The Old Me is stripped back song with just Bryant with an acoustic doing the work it's Misery where we go right back to sonorous country   

There's a real maturity to Pressure with Bryant and co stepping into the the shoes they've been threatening to fill and those shoes are those of the late, great Tom Petty. Tracks like Automatic and Wildside have that breezy Californian hard rock edginess but coming from the American blues and folk traditions, obviously Bryant has brought it into the 21st Century but much like Petty the songs here feel timeless as if they could have come at any time in the last 40 odd years. The most telling is Crazy Days which half inches the verse rhythms from Listen To Her Heart and also features Bryant's wife Rebecca Lovell of Larkin Poe on backing vocals. It's a record brimming with both hope and defiance moving Bryant into the next level of his evolution as an artist. Intelligent, honest, blue collar southern hard rock is what you get her and at this point for Bryant now it would be simpler just to rename the band The Heartbreakers and have done with it, he's got that same multi-genre, ultra modern sound wrapped up in bluesy Americana as Petty did and that is no bad thing at all. 8/10  

Cranial Separation: Bound In Barbed Wire (Self Released) [Paul Hutchings]

Those lovable death metal protagonists from South Wales finally release their debut album, Bound In Barbed Wire. 32 minutes of pummelling explosive death metal that has one intention. To level you and anything in its path. For those in the South Wales region, these guys are unlikely to be new to you, given their presence on the scene for several years and their success in the 2018 M2TM competition and subsequent chaotic appearance on the Jagermeister Stage at Bloodstock. Book ended by an ominous intro and outro (the latter ringing the Crowbar bell), four of the tracks here featured on the band’s 2017 EP Separated From The Cadaver, and they blend nicely with the brain mashing tracks included here. Sam Heffernan’s drumming is ferocious, his BPM count elevated to brutal levels at times. There are of course, huge swathes of disgusting downtuned riffing which link with Chris Machin’s gut bursting bass lines. 

And of course, we have Ray Packer’s guttural offerings. Sonically deep enough to wake the dead, one wonders if Packer has taken ownership of Chris Barnes original vocal cords without the SFU frontman’s knowledge. Is anything a surprise? Probably not, with old chestnuts Fucked By A Jackhammer, Rancid Insertion and Eternal Decay warming the soul. There is, however, the arrival of Solitary Cannibal, a brooding opus at over five minutes long and which has a huge outro as it slows in pace but not in heaviness. Elsewhere, it’s explosive death metal which rips through you like a dose of dysentery. Maybe that’s what Cranial are the musical equivalent of? Whatever you think, this is a swarthy punch to the face from a fist wrapped in a stinking soiled cloth. Ideal for the virtual Christmas party soundtrack this year. Give your gift bound in barbed wire. You know your manager deserves it. 7/10

The Unguided: Father Shadow (Napalm Records) [Paul Hutchings]

I’d been largely unaware of The Unguided. A melodic death metal band from Sweden, the band initially were all former members of Sonic Syndicate although the current line-up only retains Richard Sjunnesson (scream vocals) and Roger Sjunnesson (rhythm guitar, keyboards) from the original members. The band is completed by Jonathan Thorpenberg (clean vocals, lead guitar) and drummer Richard Schill. Father Shadow is their fifth album and as I’m unfamiliar with their work, I’m basing this review entirely on this one album. I’ve charted my unease with metalcore in many a review before. I rarely find it a genre that I enjoy, and The Unguided slip into that domain with a regularity that shifts them far away from the more traditional Gothenburg sound of thirty years ago. That’s not to say that The Unguided don’t embrace the melodeath sound because it is evident throughout the album. But and it is a big but, the blend across styles, and with the inclusion of some electronic elements make it a more challenging album to listen to. 

Songs like Where Love Comes To Die highlight the conundrum. Whilst the band draw from the melodic style of Linkin Park, they retain an edge of In Flames thrown in for good measure. Sjunnesson’s screaming vocals jar with the cleaner delivery of Thorpenberg. The echoing effects stunted choppy style and swirling keyboards clash violently with crashing riffs and pounding drums to the extent where at times it sounds like several songs are playing at once. From there, the band segue into Crown Prince Syndrome which is a much more face-melting track, and one that you can imagine halls of fans happily bouncing in time with. At times, the album soars majestically, such as during the classic old school style of Never Yield, with the snarling vocals and thick riffs which combine with some sweet melodic harmonies. It is fist pumping tracks like this that stand out on the album although The Unguided have a habit of swinging in the odd curve ball. Stand Alone Complex utilises some thoroughly harsh drumming to underpin a short sharp track that sees rich synths slot in alongside the more rampant parts. Eyes Wide Open’s Eric Engstrand guests on Gaia, adding a ferocious and feisty vocal. 

The album concludes with three covers of Sonic Syndicate songs, Jailbreak, Denied and Jack Of Diamonds which means little to me, but all are punishingly decent tracks which sit comfortably with the more modern songs. The challenge with any album is the mark it leaves in the memory. The Unguided’s latest offering is full of earworms that explode on initial exposure, but which fade from the memory relatively quickly. Father Shadow will no doubt delight the fans of the band. The musicianship is excellent, the band are tight, and the production is crystal clear. But one of my benchmarks is whether I am clamouring for the back catalogue. I’m afraid I won’t be desperately searching out their early material with any urgency. 7/10

Reviews: Saltatio Mortis, Sons Of Otis, Ramblin Roze, System Decay (Simon & Matt)

Saltatio Mortis: Für Immer Frei (We Love Music) [Simon Black]

I may not be any kind of expert when it comes to the German language, but I know a damned fine Folk Metal album when I hear one - despite the fact that the band prefer ‘Medieval Metal’, this has deep veins of pure Folk Metal running through and through. Like many bands of the genre, the line-up of this incarnation is huge, with no less than eight musicians involved. I had not come across them before, but their back catalogue is extensive and their output prolific (this is their twelfth studio album since 2001, plus five live ones and a compilation for good measure). But then you can be prolific and distinctly average. This album, which translates to Forever Free, is anything but.

Like all good Folk, the music is deeply angry and political, and in this instance seems also to have taken a good snort of Norse mythology to spice things up. Freedom has become a hot topic of the moment, and the deep root of so many folk influenced rock acts since the Levellers started, err Levelling things… and it’s used as an emblematic theme throughout (and we’re really pushing my pigeon German to its limit here). For those who haven’t got a hope of unpicking the lyrics, the musical locus is absolutely spot on. What we have there are thirteen lively, emotive and thoroughly banging tracks (plus an intro) whose 46 minutes of run time fly by in a moment.

The production is absolutely spot on, with every single one of those eight musicians clearly present in the mix without detracting from the emphasis of the songs, or risking descending into a cacophony of chaos, and this comes down to darn well-focussed song-writing and phrasing. Every single track is catchy and would stand up well to a live rendition. The metal aspects are subtly melded in and allow the tracks to rock out when they need to, without sounding like the folk instruments have merely been bolted on the side like some bands I could mention. The band have done incredibly well in their native Germany, with three number one albums in the rock charts to date, and I have no doubt that this one will be joining them in what is an absolutely cracking release to deliver for their twentieth anniversary. 9/10

Sons Of Otis: Isolation (Totem Cat Records) [Matt Bladen]

Sons Of Otis have been making a heavily reverbed, colossal riffage since 1993. This trio sound as if they have come straight from the bowels of hell, led still by the down-tuned to oblivion guitars and wild vocals of Ken Baluke the band have been through ten drummers between their 1996 debut and 1998. They are a band that bring little and often, their releases are reasonably consistent however they are a band that languish in underground with supports of Electric Wizard (a major soundalike), Voivod, Fu Manchu and Kyuss they have achieved semi-legendary status due to their crushing ethereal psychedelic stoner doom, which is doom in BIG letters as the bass and guitars are indistinguishable from one another both carving huge furrows with their crushing waves of thunderous riff, slowly dragging these songs such as Blood Moon into a weed-smoke induced fug. Isolation is an ideal name for this record as we are deep in quarantine so this claustrophobic record will punctuate those extended periods of silence with an eardrum shaking heaviness that is an acquired taste but one that will leave doomsters wanting much much more. 7/10 

Ramblin’ Roze: Howl Of The Coomb (SloomWeep) [Simon Black]

When I receive these lovely items for review, one of the first things I try and do if I am not familiar with them is find out a little more about the band, other than what the press release would like to tell me (when we have one). So, about these guys I can find nothing – nada, zip, even though they’re on their fourth album. I guess that’s because we don’t get too many Southern Rock bands from Beijing in China.

The musicians seem more than competent, although sometimes the high notes seem a little forced as singer Tone pushes his voice to its limit, but at the same time the honest rawness of this works in their favour. In fact, the production is a little unusual and probably needs a more experienced hand in the final mix down. Sound levels tend to jump up for certain musicians significantly during solos for example, but then this might be the norm in Chinese recording circles, but it has the net effect of emphasising very clearly the part of the song that they want you to focus on right at that point. To be honest I think that’s the way their news media works as well.

It's Southern/Stoner Rock with a distinctly early metal mixed with punk edge, so has a very mid-70’s feel. It’s also raw as hell, with the atmosphere of an expensive demo, rather than a full album, which actually really helps because this style of music always sounds far more fun, dangerous and live than the frankly over-produced approach that USA bands in the genre favour. Lyrically there’s many of the usual genre tropes and clichés, as titles like Devil Woman and Space Cowboy make clear, but things can also take a distinctly darker lyrical tone, as the most Stoner epic Mountain Of The Dead highlights well. This is the standout track on the album, and an epic eight and a half minutes long. To be honest the Stoner elements work better than the Southern Rock even though it successfully fuses the two, although might not have a market in their home territory, but it’s their strength and should be played to a bit more. Raw, but honest, 6/10

System Decay: Crown (Self Released) [Matt Bladen]

Metalcore/Groove Metal has always been a little hit-and-miss for me for every band such as Architects who impress there are bands such as Killswitch Engage who have never excited me at all. I always tread carefully when reviewing a metalcore album as I try not to let my own bias influence my decision. However I didn't have to do this on the third album from Athenian's System Decay, they are very much in the category of bands such as Architects, Parkway Drive, While She Sleeps and Northlane skillfully balancing pit-inducing heavy grooves with Freefall standing out, with soaring lighter phases on the more melodic numbers such as No Quarter Given as the vocals move from frankly disgusting (in a good way) harsh screams to powerfully gritty cleans on songs such as Engage which bring to the record the technical ferocity of bands such as Trivium, while Waves has the thunderous grooves of Lamb Of God. System Decay take their name from a Kreator song, and you will find some little flashes of classic thrash on the title track but most of Crown is fiercely modern metalcore that shifts from thumping heaviness to huge hooks with ease. 7/10 

Reviews: Lindsay Schoolcraft, Artillery, Suicide Of Society, Army Of One (Matt & Paul H)

Lindsay Schoolcraft: Worlds Away (Cyber Proxy Records)

Many metal fans will recognise Lindsay Schoolcraft as a collaborator of British extreme metal band Cradle Of Filth amongst others. The Canadian multi-instrumentalist released her debut last year, but due to the Coronavirus crisis, she has once again flexed her creative muscles, this time stripping things down to harp and strings, she has re-visited songs from her previous records with her harp the lead instrument here as she once again reunited Rocky Gray who provides electronic backing on a number of songs giving them the cinematic feel of dark romance. There is certainly a haunting overall atmosphere as the Schoolcraft's breathy soaring vocals evoke memories of Dolores O'Riordan through Christina Perri occasionally ascending into Sarah Brightman reaches but never to the detriment of the 'campfire' feel of these songs. 

The two new songs here are the sparse title track and the delicate Dance On The Strings both of which are fully committed to the concept of this record with the latter standing out as one of the best along with my favourite Fading Star which to me has the sound of Touchstone/The Reasoning/Panic Room. With Autumn in full swing this is the perfect record to pair with a Dark Burgundy, some cheese and a log fire. It was created due to the lockdown and it could be played a fair few times in the run up to the festiveness, with the dark nights drawing in be taken Worlds Away with Lindsay Schoolcraft's reinvention. 7/10

Artillery: The Last Journey (Metal Blade Records) [Paul Hutchings]

On 2nd October 2019 Morten Stützer, founder member and guitarist of Danish thrashers Artillery suddenly died. Having been a member of this seminal band since 1982, it’s fair to say the band were rocked but decided that they would carry on with new guitarist Kræn Meier. Now the band have written a song in his honour and release it as a special single. The Last Journey features former singers Flemming Rønsdorf and Søren Adamsen. It’s a challenging song to review, mainly because of the sentiment involved but being critical it’s not a particularly good track. Opening with gentle guitars and keys, the lyrics are emotionally crafted and centred on their departed friend. It’s hard to be too critical so let’s just say this is a track that Accept might write. There’s none of the frenetic thrash we’ve come to expect from the Danes, and the vocals are of variable quality. It’s more standard heavy metal ballad with some decent solos punctuating the slow chug. A cover of Metallica’s Trapped Under Ice is on the flip side, and its exactly as you’d expect it to be. A faithful cover of an all-time classic. Thankfully, Artillery are working on a new album, and I have every hope that this will be a much more exciting affair. 5/10

Suicide Of Society: War Investment (Black Sunset) [Paul Hutchings]

I’ve got little information about Suicide of Society. What I do know is that War Investment is their debut album, ten years after their original formation. They are a five-piece from Germany who blend a pleasing old school thrash with some typical Germanic flourishes. What we get is just shy of 40 minutes of solid riffing, pile driving drumming and an overall feeling of good, reliable thrash metal. The vocals work well, the variation from growling guttural delivery to more Slayer-esque scream matching the frenetic pace and explosive passages. Suicide of Society can do balls out thrash as well as the slower placed chugging, such as Planet Babylon which ebbs and flows from full on assault to grinding rager. Produced and recorded last year, Suicide of Society are yet another full fat thrash outfit who raise more than a passing interest. It’s definitely old school, and it’s definitely worth a listen. 7/10

Army Of One: EP (Self Released)

Army Of One is the solo project from Brad Rogers, co-vocalist of metalcore band Chapfallen. It has been around from six years and is very much solo in the respect that Brad plays everything here except for the solos on Vicious Cycle and Palpitate which come from James Phillips and Tom Longshaw (from Chapfallen). Created in his bedroom in Stoke Brad has clearly had a productive lockdown as this record sounds like a commercially released one, with tracks that are still very much in the metalcore template but with some deathcore slams, industrial electronics and an overall sense of fear and foreboding that comes through mainly on the discordant Palpitate. The album whizzes by at a fair pace but the songs never move away from a mid-pace mosh, which is not a bad thing when you're aiming your music at the metalcore audience who do love a goot pit. How Brad will ever translate this to the stage is anyone's guess but for a studio/bedroom project it's got a lot of talent behind it showing that Rogers can do more than just roar/scream. 7/10

Reviews: Mr Bison, Yovel, Wreck Defy, Yersin (Lucas, Paul S, Paul H & Rich)

Mr Bison: Seaward (Subsound Records) [Lucas Tuckwood]

It’s time for some psychedelia folks, so let’s dig into Seaward from the Italian earful Mr Bison. It’s their fourth full length, and eschews some of their previous heavy psychedelic bluesy sound in favour of a more progressive, technical style that still feels good, but doesn’t always hit the mark. Having established a healthy reputation across three great albums, Bison has decided to its hand with a concept album, incorporating the Legend Of The Seven Pearls Of The Tyrrhenian Sea. Seven pearls, seven tracks, each depicting Greek legends, as well as mythical tales of the sea, earning the album its name. It’s an intriguing idea that might sound a little pretentious, if the songs weren’t so well made, and each track presents its story rather well. 

As for the music, things get a little lighter with this release in comparison with Bison’s previous outings. The opener and title track is a deliciously heavy little morsel that builds up with slow atmospherics and explodes into that groovy, fuzz laden goodness one might come to expect from this band. Later tracks tend to differ from the standard formula however, often slowing down and changing into slow melodic pieces once the riffs are finished. The heavy is still there, but it can sometimes result in tracks feeling like they did not reach a satisfactory conclusion. 

Some of the bluesy flair of their previous records has been put to the side, in exchange for a more progressive, technical style. It’s still great, and it’s always good to experiment with one’s sound, but I find it doesn’t hit quite as hard as their straightforward sludgy blues. Overall, this is a great album, but I feel that the decision to ditch some of the bluesy trappings places it just a few inches below Bison’s previous albums. It’s still good, but it bears a cursory mention. 7/10

Yovel: Forthcoming Humanity (Self Released) [Paul Scoble]

Yovel are a Greek RABM band. I’d like to tell you who they are and when they formed but there is no information available on this band. They released their self titled debut in 2018. This album is based on the poetry of Tasos Leivanditis and features narration by Antriana Andrcovits. The style of Black metal Yovel play is a mix of Lo-Fi orthodox Black metal and a softer more folky sound, that occasionally dips into Pagan Metal. This album is fairly clever structurally. All of the songs feature sections of narration and samples, as most of it is in Greek, I can’t tell you what it is all about, some of the samples are of news reports. Debout Les Morts | Chapter I is a short intro that has a spoken word section over clean, slightly folky guitar, there is a melody lead in the second half and has a heavy ending that takes the audience into the next track. Peace | Chapter II opens with a harsh blast beat and tremolo picked riffs, the style is fairly Dark Throne and Lo-Fi. 

The second half of the song is more melodic. Woe To The Vanquished | Chapter III has a spoken word and acoustic guitar intro, this then goes into a mid-paced section that feels more Pagan Metal than Black Metal. The track also has a softer section that features some layered tremolo picked riffs that feel quite Post Black Metal. To Arms | Chapter IV again starts with soft guitar and spoken word section before the fast and savage Black metal comes in. There is a slower but no less viscous part and the track comes to an end with melody lead. Epitaph | Chapter V starts with a spoken word section this time with a fairly uptempo clean guitar. The rest of the track is a mix of very fast and savage Black Metal and a slower more mid-tempo parts. The mid-tempo parts on this song are some of the best riffs on this album, they are driving and purposeful and really make this song. So Our Flags Were Born | Chapter VI as with all the tracks, this opens with clean guitar and spoken word before some very pleasing tremolo picked riffs come in, the song then takes a turn towards the savage with more lo-fi Dark Throne style nastiness. New Planet Earth | Chapter VII has the obligatory spoken word opening, but this time the clean guitar is strummed. 6:8 time drums are added to this, giving a feeling of hugeness and expansiveness. 

The song has a central section with that is full of blast beats and then returns to the very pleasing strummed guitar part. Forthcoming Humanity | Chapter VIII opens with some nicely layered riffs, before going into some very savage blasting with really great, impassioned clean vocals, a melody lead is added and the vocals return to harsh and viscous. The track comes to an end with a section of mid-paced riffs. The album comes to an end with Love | Chapter IX is an outro and is the last of the soft guitar and spoken word sections. Forthcoming Humanity is a great album. It’s full of great riffs and melodies, and is clearly a complex album that has been realised with passion, skill and verve. I wish I could tell you more information about the band, but after hours of searching online I couldn’t find any. Whoever Yovel are, they are very good at making savage, but very intelligent Black Metal, which is complex structurally, whilst still having enough nastiness to keep it interesting. Highly recommended, 8/10

Wreck-Defy: Powers That Be (Self Released) [Paul Hutchings]

The third album from the band that features former Testament Greg Christian, ex- Annihilator vocalist Aaron Randall and drummer Alex Marquez (Malevolent Creation) is a bit of a mixed bag. With the band’s pedigree one might expect to be steamrollered by brutal riffing and there are certainly moments when things hot up. The engine room is tighter than the proverbial nun’s chuffer, Christian’s raging bass lines rampage like a bull on heat whilst guitarist Matt Hanchuck applies the thrashing riff with liberal aplomb. The title track is a ferocious beast, and once you acclimatise yourself with Randall’s roaring screams then things become even more enjoyable. Hell, the band even dabble with a bit of Alice In Chains style melody on occasion - Drowning In Darkness one of several tracks that benefit. So far so good. 

And then we hit the one song which should never have been written. This Is Skin, a song clearly motivated by the racial unrest in the US over the past few months. There are no doubt good intentions behind it but the song crashes and burns from the opening bars. I’m afraid guys, this is clumsier than a 14-year-old boy on his first date. I can’t comprehend how the band finished this and said, “nailed it”. Simply no. Elsewhere, there is, as I said, some very solid thrash metal and a battering in the song I Am The Wolf which reassure you that when Wreck-Defy do what they do best, they are good. With the taste tainted, Powers That Be unfortunately suffers from the memory of one song which simply doesn’t deserve to be included. 6/10

Yersin: Guilt (Self Released) [Rich Oliver]

Guilt is the debut full length album by Sunderland grind bastards Yersin. Not a name I am familiar with but Yersin set out to impress with all out intensity with Guilt which rarely lets up during its half hour length. Yersin have influences ranging from Napalm Death and Wormrot through to more traditional metal such as Black Sabbath, Slayer and Pantera with the band describing themselves as somewhere between black metal and grind. This is an apt description of the band who mix a myriad of extreme metal sounds with grindcore aesthetics - the black metal influence is clear as well as heavy doses of thrash and death metal and even divergences into sludge metal territory at times. 

It is an absolutely pummelling release with songs that make your bones ache from their sheer levels of violence and intensity from the carnage of Massive Headwound, the absolutely crushing Fritzl, the unhinged ferocity of Destroyer and my personal favourite, the completely devastating Northern Stronghold. Guilt is an enjoyable slab of violence but like a lot of grind it can get a bit repetitive and suffers from a lack of memorable riffs but these are minor nitpicks.  If you like some disgustingly heavy music then Yersin certainly delivers the goods. 7/10