Reviews: U.D.O, Nine Treasures, The Hirsch Effect, Trollfest (Reviews By Richard Oliver, Alex Swift, Paul Hutchings & Matt Bladen)

U.D.O. - Live In Bulgaria 2020: Pandemic Survival Show (AFM Records) [Richard Oliver]

There have been a lot of live albums released the past year. With all touring revenue gone a lot of bands have been releasing live albums with material recorded prior to the 2020 pandemic. Where this live album really differs is that it was recorded in the midst of the global pandemic in front of a crowd of 2500 people. U.D.O. have seemingly done what seemed impossible and managed to perform a huge show whilst conforming to the coronavirus restrictions of the country. Aside from applauding the logistics of pulling off a show like this it is utterly fantastic to see some live music persevere in what has been the absolute worst year for live music. The show itself was recorded in Bulgaria on 18th September 2020 at the stunning Roman amphitheatre in Plovdiv - a venue that has been the host venue for many spectacular live concerts including artists such as Devin Townsend, Katatonia, Anathema and Paradise Lost amongst others. 

There is a palpable excitement both from the audience and the band and it must have been an incredible show to attend considering the circumstances and an uplifting experience. Add to that that this is a show from one of the stalwarts of German heavy metal - the mighty Udo Dirkschneider. This is a passionate performance especially since it is the first performance from Udo and his band for many, many months and is a whopping near two and a half hour show. It is a career spanning show for U.D.O. including cuts from all eras of the band plus the inclusion of some songs from the mighty Accept who of course Udo Dirkschneider is the former frontman of. Latter days songs such as Make The Move, Metal Machine and I Give As Good As I Get sit comfortably alongside older cuts such as Time Bomb, Man And Machine and Animal House whilst we get Accept classics such as Princess Of The Dawn, Fast As A Shark and Balls To The Wall. 

The pace does suffer slightly with the grouping of some slower songs towards the end of the first half and there are drum and bass solos which pad things out but these are probably there to give the 68 year old Udo a bit of a breather. Whilst his vocals aren’t as strong as they used to be, Udo does sound fantastic for his age and there are few people of that age still with the stamina to perform heavy metal on stage for two hours plus. Like any live album this would work better with the visual aspect of the show especially considering this show took place in the spectacular setting of a Roman amphitheatre and thankfully this has also been released as a DVD and Blu Ray. This is still a fantastic show and an amazing achievement in one of the worst times in living memory for musicians and artists. 8/10

Nine Treasures - Awakening From Dukkha (Self Released) [Alex Swift]

With the aim of ‘taking Mongolian folk metal worldwide’, from the outset I admired Nine Treasures' ambitions. To start a band and take your music across the globe is a lofty aim in itself. Moreso, if few know how your – as it happens distinctly optimistic take on metal - sounds. The music in question is an intriguing bringing together of old school heavy metal and traditional Mongolian folk which sees Nine Treasures utilise both conventional vocals and Mongolian throat singing Awakening From Dukkha is a best-of album aimed at distilling this bands flair and personality, so far captured across three records, into one experience. Symphonic and traditional elements also cascade into the mix, adding to the grandiosity. Black Heart spares no time in impressing. Pummelling guitars intersect with feverish string arrangements and technically awe-inspiring acoustics. 

I have to say that the combination works far better than you’d expect, each instrument working together in brilliant harmony and rhythm. Halfway into the first song and you will already be hooked – that is, if you can see past the vocals. Look, for me while the throat singing initially took me back, after a while I learned to appreciate the style as part of this acts overall charm and presence (as well as, from what I understand, an important part of Mongolia’s musical heritage) However, this is an acquired taste and particularly if you don’t care for acts with strange vocal delivery, this might be enough to put you off the project altogether. Thankfully, although they are still probably my least favourite aspect I couldn’t resist the call of the instrumentals – Arvan Ald Guulin Honshoor made me want to dance and experience this music in all its excitement in a live setting. Fable Of Mangas beguiled with touches of mystery and bewilderment. Nomin Dalai proved confident and exciting while Tes River’s Hymn made for an exploratory and multi-layered journey of a piece. 

The intrigue continued onto Ten Years where the metal instrumentals are seen to separate a little more from the folk ones to allow both a chance to shine. Even with the vocals, this one is amazingly memorable the chorus providing an elusive lynchpin for the rest of the elements to latch on to in their quest to be outstanding. The Dream About Ancient City proved distinctly darker to my ears, the dense and rich instrumental layers making for a mesmeric experience. Moments like these helped prove to me that Nine Treasures are far more than a fluke in the music world, as did the stampeding anthem of Praise For Fine Horses and the cleverly paced End Of The World. Almost psychedelic in nature is the wavelike Wisdom Eyes which contrasts the quiet and loud aspects of their sound with cunning and complexity. 

The Stubborn relentlessly challenges the listener with outlandish rhythmic textures, the oddness lending yet more originality. We finish on Three Years Old Warrior, the choice managing to be arousing and motivating one to end on. To end, while this acts music might not be for everybody and certainly is not something to return to every day, the skill, precision, and writing has to be admired. 8/10

The Hirsch Effekt - Gregær (Long Branch Records) [Paul Hutchings]

It’s nice to take something a little outside the comfort zone on occasion. German experimental trio The Hirsch Effekt’s latest EP was certainly that for me. The band gathered 17 young classical musicians from Hannover and recorded orchestral versions of their songs Natans, Domstol and Kollaps and new song Gregær, all arranged by composer Anthony Williams. The EP opens with the ten-minute Natans, which is one of the most confusing and chaotic songs I’ve heard for some time. The awkward juxtaposition between the strings, choral sections, jazz and progressive passages and grunting roars that contrasted with melodious clean singing was something I didn’t want to listen to more than once. That probably makes this review a little unfair, but life is short and wasting your time on such explorative expressions seems pointless. Additional brass didn’t increase my enjoyment one bit. 

It was all a bit jumbled, and at times sounded like they were playing several different songs at one. But it gets more challenging. Domstol is the sound of a seven-year-old with ADHD. Intense passages of high-speed drumming, screaming and semi-death metal vocals competing with high pitched choral singing, all in German to add to the confusion, before an abrupt halt slows the tempo dramatically. It’s either very clever or tripe. I can’t decide but let’s just say it didn’t get me excited in anyway. The orchestral intro to Kollaps which segued into a sultry bass line promised better. The atmospheric build up with more brass slowly evolved but once more it was all a little disappointing with the jangling guitar and disjointed combinations really jarring. 

That left the new song Gregær to provide any redemption. I’m afraid it didn’t despite the increased electronica style tempo. It’s all a bit too messy and whilst I appreciated the effort and undoubted talent, I just couldn’t warm to anything I heard. I have admiration for the band’s determined drive and originality, and many will no doubt embrace the avante garde approach. I’m sorry.  4/10

Trollfest - Happy Heroes (Napalm Records) [Matt Bladen]

This a mental release make no mistake. Now I'm not stranger to so-called Balkan music as my other half was brought up with it, being from the North of Greece. Trollfest are from Norway, they are an 8 piece using traditional instruments from Bouzouki, Saxophone and Accordion with guitars, drums, bass and various vocalists. They are apparently legendary, playing this Balkan Metal for a long time so they are very well versed in creating a maelstrom of beer fuelled troll metal. The only 'new' track on this record is the title track which is exactly as you'd expect, full of silly fantasy lyrics and quirky musical flourishes. The other three tracks are covers with Miriam Renvåg Müller adding the female vocals on Cartoon Heroes (Aqua), which receives a galloping overhaul while the oddest cover is Bobby McFerin's Don't Worry Be Happy which is fucking awful! Finally there's a version of Happy by Pharrell Williams which isn't much better. The definition of stopgap, this will be dreadful to anyone who isn't a fan of the band. 3/10

Disability & Metal Part 1 (Opinion Piece By Alex Swift)

This first post is an opinion piece from Alex Swift who details his experience with rock/metal and Autism 

Alex Swift: Metal and Autism

Can the metal community be considered a welcoming place for people on the autism spectrum? Really that depends. Neurotypicals – a word which is here used to mean people who are not neurodiverse - like to talk about the metal community as if it’s one body, when in reality its far more complex than that, and what is a community other than the people within? You might hear some scholars on autism talk about ‘obsession’. Autistic people tend to prefer ‘special interest’ as hobbies and interests we are often zealously passionate about. Some of mine are music and politics. 

Oftentimes special interests will be more granular than that. I might choose to ‘hyper fixate’ on an artist or album for weeks before moving on to something else, almost as suddenly as I became intrigued. Part of having a special interest is wanting to analyse every aspect of something – this is why I like to review music. Doing so allows me to slot into a section of the ‘metal community’ that is as fascinated by music as I am.

Another interesting aspect to point to is sensitivity – music provides an outlet which allows me to expose myself to sensations which might otherwise be too much to handle, or result in a process known as ‘autistic meltdown’. I’ve had a few of those at concerts, or in packed bars, yet these are more often than not what you’d call controlled environments. Note: many autistics use this term differently from the sense of someone is telling everybody how to behave. Elements like loud music, screaming, crowds, glaring lights are all incredibly simulating to the extent that I do still get overwhelmed by them to this day.

 
Interestingly, when Black Sabbath formed they had the idea to try and carry the sensation of watching a horror movie through music. And why do people go and see horror movies if not to expose themselves to visceral and extreme emotions, in a safe yet stimulating context? Another comparison might be a rollercoaster - a rock concert can be scary, heart racing, visceral, yet you are ultimately left feeling empowered by the experience. I remember when my parents would play AC/DC or Led Zeppelin to me I would often sit in the corner, utterly loving the experience, struck by the physical sensation of loud music surrounding and reverberating through me. I want to make clear that these sensations are separate. 

It’s not a case of 'feel the fear and do it anyway' as much as its an attempt to let myself feel the stimulation that comes from loud music, in a healthy way. Often, when listening to music at home I pace, contort my arms or scratch my skin. This is called 'self-stimulatory behaviour' or 'stimming' for short. It’s an important part of how autistic people control their emotions and understand the world around them, so is an important tool in self-regulation. Incidentally, being at a show or being with a group of friends can have the same effect, just as I need to be on my own to ‘recharge’ when interaction starts overwhelming me to an uncomfortable extent.

 
As well as the controlled chaos lent by events, there's also that sensation associated with the music itself. Interestingly, I find music can particularly reflect the autistic experience by capturing a cacophony of emotions and sensations in a short space of time. Music has political and societal links. Musical movements don’t happen on their own, and it’s also the case that music deals with a lot of those emotional stimuli which affect me as an autistic person – the caustic social commentary of Rage Against the Machine or Kreator, the harsh pictures of mental health painted by Linkin Park and Deftones. Regardless of the genre the changeable, multifarious, and harsh tones of rock are, for me personally, perfect at supplementing the autistic experience.

Psychologist, David G. Angler notes that:

“Chaos and uncertainty are high during and immediately after disturbances, resulting in discomfort from not knowing how the disturbance will end or what the future holds. Uncertainty and chaos may be associated with the patterns of mathcore, grind core, and progressive metal's rhythmic complexity. These sub genres are characterized by unusual time signatures, atonality, and dissonance in the manifestation of song elements that are reminiscent of chaos. The listener is constantly challenged to digest and anticipate dynamically interacting and often antithetical sound patterns and rhythm structures”

This leads me to talking about the concept of emotional sensitivity. Contrary to popular belief, autistic people can and do feel emotions and care what you say about them. Often more so than neurotypical people as every sensation is heightened and felt to extremes. Its sometimes the case that autistic people find communicating and expressing those emotions harder. Music, again, acts as a tool for me to be able to understand how I'm feeling. While there’s truth in the statement ‘metal music makes you feel sad’ a more accurate analysis would be that ‘metal helps you to process sad feelings’. I said I'm into politics earlier, and as part of that I feel a lot of 'social grief' - actual grief that you feel, associated with societal events. Music can make you reflectively contemplate your own anxieties, or see the issue of death, corruption, and environmental destruction in a wider scope, past the mournfulness which envelops you in that moment.

 
There's been research by writers such as Diana C. Herald who point out that music can act as an anchoring 'other'. Due to the increased sensitivity, in cases such as mine autism can come with feelings of depression and anxiety. I've been quite open about my struggles with mental health. To be more specific, I'm incredibly anxious about simple actions like talking to new people or stepping outside of the familiar. This leads to depressing feelings later down the line and doubts about my self-worth as a person relative to others in my immediate circle. On the one hand, communities like the 'metal community' help to foster a sense of belonging and togetherness, and on the other the emphasis on confidence and brashness can be distressing for some autistic people who feel unable to interact with the scene in the same way as everybody else.

That said, the music itself can be incredibly fulfilling. A study by the University of Queensland involved metal fans being given an ‘anger course’ where they recalled moments in their life that inspired anger. They were asked to spend ten minutes listening to songs of their choice and ten minutes in silence. The music helped them get into a more positive mental state and “explore the full gamut of emotion they felt". This raises the incredible possibility that music in the vain of Rain in Blood by Slayer, or Psychosocial by Slipknot is actually incredibly soothing and a loud equivalent to enya. Joking aside the chief takeaway from all this might just be that listening to music reduces negative emotions – even taking this at its simplest illustrates the power music might have in helping those who struggle to regulate their feelings.

As Prog musician, Steven Wilson, observes:

“Music that is sad, melancholic, depressing, is in a kind of perverse way, more uplifting. I think if you respond strongly to that kind of art, it’s because in a way it makes you feel like you’re not alone. So, when we hear a very sad song, it makes us realise that we do share this kind of common human experience, and we’re all kind of bonded in sadness and melancholia and depression.
I would like to point out that I am wary of any 'diagnosing' of celebrities and public figures by non-autistic people. It’s usually well-intentioned but I resent it for the same reason I don't like people labelling autistics as 'great assets for competition' or 'great mathematicians'. It consigns our value as human beings to our economic or social value. It also boils autism down to a few distinguishable features when in reality it’s a spectrum. I might theorize that Steven Wilson is autistic based on the subject matter of his songs, the way he acts on stage etc. but I can never be sure. 

This oversimplified approach means that I often get confronted with observations like 'you don't seem autistic' or have people say, 'I'm sorry to hear about your condition' in social settings like clubs and concerts. This in spite of the fact that autistic people often use a tactic called camouflaging or masking where they feel the need to hide some of the aspects of their autism for fear of social exclusion. This is something that exists in a lot of aspects of society but is particularly pressing in subcultures where there are behavioural expectations associated with your ability to socialize. In spite of this, as noted previously, most of my interactions within the metal community have been positive. I am not ashamed of my autism. It's part of who I am

This leads me to conclude my observations. When you are autistic, like I am, music can help to effectively process feelings which you may not fully comprehend. One phrase we like to use in the music critic community is ‘melodic weight’ – this describes how music carry’s meanings which can take someone from one emotional state to another or remind them to see their experiences past the narrow personal prism they may be perceiving. Through music itself and through the communities and cultures which form through music, individuals like myself learn to interact in a social setting, adopt shared practices or ‘rituals’ and form relationships based off a shared love of an artist, or style of music. It is hopefully easy to see how this is valuable to individuals struggling to find an identity for themselves.

Reviews: Black Diamonds, Gary Hughes, Issa, Hevilan (Reviews By Matt Bladen)

Black Diamonds - No-Tell Hotel (Metalapolis)

I've always been under the impression that the glam/sleaze rock sound that was born out of the Sunset Strip in LA never actually died out, it just moved Eastward. By that I don't mean it settled in New York, no I mean Eastward towards Europe, bands such as Treat, H.E.A.T, Eclipse, Crazy Lixx, Reckless Love all having that bandana wearing, smokey eyed, neon hard rock sound, their albums full of driving anthems, drinking anthems and odes to love. Black Diamonds are yet another band that looks West for their influence. Fourth album No-Tell Hotel is fit to bursting with sunny solos, bouncy riffs and sing along choruses the band sounding like a merger of Motley Crue, Poison and Def Leppard. 

It's their first album with new guitarist Chris Johnson who adds his own flair to the songs. Yes the songs, slightly conceptual the album revolves around the guests at the titular hotel, there's a decent balance between pumping rockers and ballads such as Anytime, which sounds like a Mutt Lange special with those backing vocals. No-Tell Hotel is the sort of album made for cruising in an open top sports car, Aviators on and this blaring out of your freshly installed compact disc player. It ain't gonna change the world but it'll make you wish for sunny weather and good times with your friends. Optimism overload! 7/10

Gary Hughes - Waterside (Frontiers Music)

With over 30 years in the music industry fronting rock band Ten Gary Hughes has carved himself a very cult following in hard rock/AOR circles. This new album is his first solo record since Veritas in 2007 and it coincides with the two disc 'best of' Decades. If you have ever listened to Gary Hughes you'll know that he is revered in the melodic rock world, and while he has always broadened his horizons this is his return to AOR/Melodic Rock. Infused with some blues on Lay Down the record has moments of Ten slickness, Gary's soulful vocals instantly recognisable, those husky tones carrying the heavily layered musical backing, The Runaway Damned almost sounding like Neil Diamond while Screaming In The Half Light a torchlight ballad. I said there's a Ten influence, with his co-band members Darrel Treece-Birch (drums/keys) and Dann Rosingana (guitars) playing and co-writing, with David Rosingana (bass) while Karen Fell and Scott Hughes add the backing vocals. Waterside is a reminder of why Hughes has been doing this for 30 years, an excellent vocalist singing anthemic songs with a precision band behind him, Waterside is another killer addition to the Gary Hughes discography. 7/10 

Issa - Queen Of Broken Hearts (Frontiers Music)

This is the sixth Issa album! The sixth record is called Queen Of Broken Hearts and if I'm honest it sounds like the previous Issa records. Fronted by the soaring vocals of the projects namesake Issa Oversveen the musical element once again is spearheaded by Alessandro Del Vecchio (keys/producer) and he's again got Simone Mularoni (guitars DGM) on guitar like on the Sunstorm, here the additional band are Andrea ToWer Torricini (bass Vision Divine), Marco Di Salvia (drums Hardline). Now maybe I was a little harsh when I said it sounds like every previous Issa record, as this is sort of the destination those records have been heading too, it's certainly grandiose and epic with shifts between AOR, melodic rock and symphonic rock with ease but doesn't stray from the formula set down on that first album. Queen Of Broken Hearts is the fruition of the Issa journey and it's probably the best of the lot, though only if you're a fan. 6/10  

Hevilan - Symphony Of Good & Evil (Brutal Records)

Hevilan are a 'legendary heavy prog symphonic metal band', well perhaps in their native Brazil but I haven't heard a single thing by them. Until now. Symphony Of Good & Evil is their first release on Brutal Records and it's a reasonably good intro into the sound of this São Paulo act. What you have here is heavy, downtuned power metal with a big slap of prog to keep it fresh. Think Symphony X (Alex Pasquale's vocals), Evergrey and even Sanctuary and that's where you'll have your headspace after one track. Muscular riffs come from ex-Warrel Dane guitarist Johnny Moraes, with tracks such as Rebellion Of The Saints have a distinct Nevermore feel. 

The album deals with the battle between good and evil, in this case God & The Devil, with lots of religious lyrics used throughout though not as overtly as bands like Stryper where it's about praise, here it's about the darker tales of good vs evil, the mood enhanced by the energetic, at times thrashy riffs of Moraes, virtuoso bassist Biek Yohaitus, who adds flourishes on songs such as Great Battle and Here I Am. The propellant as it were, is new sticksman Rafael Dyszy who is explosive behind the kit but also can turn his hand to the more melodic sounds such as on the four part title track suite that closes the record. While they may be legendary in Brazil, possibly South America, Symphony Of Good & Evil is probably the album that will expose them to a wider heavy metal audience, good job it's a winner then. 7/10

Reviews: Mork, Toby Jepson, Dvne, Depths Of Hatred (Reviews By Paul Scoble, Paul Hutchings, Matt Bladen & Richard Oliver)

Mork - Katedralen (Peaceville) [Paul Scoble]

Mork has existed as a side project since 2004, but the bands mastermind and sole member Thomas Eriksen didn’t make Mork his main focus until 2013 when the first album Isebukke was produced. Mork's brand of very orthodox, Dark Throne style Black Metal has been very well received, from the aforementioned debut, the second full length Den Vandrende Skygge in 2016, 2017’s Eremittens Dal, and his last release Det Svarte Jav in 2019, Mork has always made quality Black Metal, is this fifth album a continuation of the pattern? The stakes may be a little higher with this album as Thomas is joined by several huge names from the Black Metal and Doom scene. Eriksen is sharing this album with Eero Pöyry of Skepticism, Dolk from Kampfar and Black Metal royalty and one of Mork’s biggest musical influences; Nocturno Culto of Darkthrone. Does Katedralen, which translates as cathedral, continue Mork’s habit of making really good orthodox Black Metal? Well, yes and no. No, as on this album Mork seems to be moving away from the strict orthodox Black Metal template that he has used so far in his career. Yes, as this is probably the best album that Mork has produced.

The album opens with Dødsmarsjen which initially conforms to Morks usual style of blasting Orthodox Black Metal, however after this initial part the song goes into a much looser style of riffing that has a definite Punk feel to it. The Orthodox style returns in the second half of the song, but the change in style has been clearly signalled in the opening song. Svartmalt starts in a slow, brooding and relentless way before going into a section of melodic Black Metal that again has a looser feel than we have come to expect from Mork.

Third track Arv is probably the most interesting track on the album. The track is slow and brooding, it builds to a mid-paced rock feel. This track has a much more alternative feel to it, the vocals are less harsh, and during the chorus have a layered gang style. This track is closer to Noise Rock than Black Metal, possibly Blackened Noise Rock but definitely an interesting development. Next comes Evig Intens Smerte with a return of high speed savagery. Although as with the rest of the album, this is not High speed Black Metal as we have come to expect it; there is a punky, looser feel to the velocity. The track also has a mid-paced chorus and a section that is slow and brooding before returning to the punky high speed riffing.

Det Siste Gode I Meg is slow, unrelenting and expansive, the second half of the track is discordant, harsh and builds to a huge ending. Født Til Å Herske is mid-paced punky Black Metal, it has a driving and powerful chorus, and has a fast and frenetic second half. Lysbæreren is slow and relentless initially before going into a riff that sounds very traditional metal. The vocals are still harsh, but that main riff feels very influenced by eighties metal. The track speeds up for a high speed ending, but still has a NWOBHM feel to the Black Metal. The album comes to an end with the song De Fortapte Sjelers Katedral, which for the first half feels like savage Orthodox Black Metal from the early nineties. The song moves towards a more melodic sound when the vocals come in. The song has a very dissonant section which signals a looser feel which is melodic and expansive. The song and the album is fittingly brought to an end with a church organ.

Katedralen is a great album. It has moved away from the Orthodox Black Metal sound Mork is known for, and it is this move that makes this such a good album. Letting the template of savage old school Black Metal to loosen and not constrain this album has allowed his creativity to soar. The added dissonance, the looser, punky feel really permits the album to fly. This is an absolutely fantastic piece of Punky, dissonant Black Metal that has much more depth than simply repeating the successes of the early nineties Norwegian scene. Mork has now transcended the Dark Throne style of Orthodox Black Metal, and is creating music that will be just as inspiring to other musicians as the music that inspired Mork. 9 /10

Toby Jepson – Viewfinder (Jepsongs Recordings) [Paul Hutchings]

Think Toby Jepson and what comes to mind? Frontman of Little Angels is usually the first response. Then you may think of Wayward Sons. Those who listen to Planet Rock will also know him as presenter of his Sunday evening show. There’s a lot more to the man. He’s a producer, actor, as well as critic and vocalist with many other bands including Fastway and Gun.

Viewfinder is a compilation of 20 songs, 16 of which are a retrospective of his solo work along with four unreleased bonus songs. The album is a demonstration of the variation in style that Jepson has produced in his career. The album opens with the heads down rocker Better Off Dead which has a no-nonsense approach and is well placed to catch the casual listener. The thick Hammond organ dominated Dear Mama with its bluesy flavour is poles apart, a semi-acoustic song that echoes a different era of writing. Forgiveness takes things down a notch further, a gentle, emotional song that contrasts with the raucous Happy Ever After that follows. Then you have the subtle and calming Crush, or the piano driven ballad Just No Way. Much of Jepson’s work does seem to favour the measured approach.

Jepson’s song writing has always been versatile, and this album pulls together his various styles nicely. No song is the same and that’s probably one of the main points to make. In his 30+ years as an artist, Jepson has stuck within the hard rock scene, gaining deserved plaudits for his longevity and never say die attitude. For me, it’s his driving, fist in the air rockers that work best but his ability to pen a decent ballad or acoustic song as well as a tub-thumping power track shows that his arsenal isn’t limited to one approach. He rarely pushes the four-minute barrier, most songs tucked under four minutes. Laced with hooks and melody, there’s plenty to enjoy here. For the Jepson fan, Viewfinder is a must have. For the casual listener, it’s a decent introduction to one of the UK classic rock scene’s favourite sons. 7/10

Dvne - Etemen Ænka (Metal Blade Records) [Matt Bladen]

No this is a high concept release! Dvne take their name from cult Sci-Fi novel Dune by Frank Herbert (soon to be released as a film again, this time hopefully better than the original with Sting), the science fiction references run throughout this deeply thought out second full length from this Edinburgh five piece. Described by some as progressive sludge stoner metal, I would say this is a little too restrictive as Dvne have a style that encompasses a galaxy of musical styles, veering between riffs as dense as a black hole, twinkling melodies that are born in the stars but also an Earthbound technicality of intense musicianship. Imagine Mastodon if they were full of theoretical physicists, dropping acid and playing Neurosis songs with Steven Wilson, that's the style of Etemen Ænka. 

This record as I have said is the band's second and it builds upon their debut, making a decision to include more synths and keys increasing the prog factor by doing while also bringing a very otherworldly sound that the band lent to their sci-fi metal assault. They have also increased the usage of clean vocals even bringing in Lissa Robertson for more variation. It's so difficult to pick out individual songs on this album, due to it's conceptual nature and themes that deal with Babylonian creation myths, Gilgamesh, Terminal World by Alastair Reynolds and Altered Carbon by Richard K Morgan. Very literary but also very personally relevant to the times we live the experimental, aggressive, progressive sound of this record. 

A track like Towers is evocative of Dvne's soundscapes shifting numerous times across it's nine minute run time. But this is just part of the Dvne experience, this is the sort of album you have to lose yourself in, a musical experience from the opening moments, it begs to be played in its entirety every time, as if you pick and choose you would lose the potency of the music. A throbbing, twisting, conceptual, progressive, near masterpiece, I seriously doubt you will listen to an album like Etemen Ænka this year. Utterly mesmerising! 9/10

Depths Of Hatred - Inheritance (Prosthetic Records) [Richard Oliver]

Inheritance is the third album from Canadian deathcore band Depths Of Hatred. Yes there is the dreaded word - deathcore. I’ve been quite vocal on my dislike of deathcore but Depths Of Hatred have produced a deathcore album here that I can say I actually liked and at times even enjoyed! I think the key factors that helped my enjoyment and appreciation of this album are that Depths Of Hatred have a sound that leans far more towards a technical death metal and progressive sound rather than straight up deathcore. There is a great use of melody throughout especially in the lead guitar parts and the guitar work throughout is of an extremely high quality. There is also a heavy use of keyboards that lend a blackened atmosphere to the music. Adding to all that is a great vocal performance from William Arseneau who makes his recording debut with the band and impresses with a mix of fantastic clean vocals as well as ferocious roars and growls. 

Whilst there are the atypical chugs and breakdowns associated with deathcore, they are used sparingly and when used they actually work within the context of the music and the song rather than sounding like a forced bit of brutality. The first half of the album is definitely the strongest with highlights such as Sadistic Trials and Fastidious Imitation as there is a bit of a drop off in quality in the middle. It does pick up towards the end of the album though finishing with a strong pair of songs in The End Of Ourselves and Emerging As One. Depths Of Hatred have impressed me here producing a deathcore album that I can stomach and appreciate. It does suffer a bit with a bit of a lull in quality and the album can be quite samey at times with some songs failing to stand out from each other but overall this album is a good one. Although it doesn’t have me wanting to explore any more deathcore bands I can appreciate that this maligned sub genre of metal can sounds good when it wants to. 7/10

Reviews: Ronnie Atkins, Secret Sphere, Enforcer, Sunstorm (Reviews By Simon Black & Matt Bladen)

Ronnie Atkins – One Shot (Frontiers Music) [Simon Black]

In Hard Rock circles, Ronnie Atkins is little short of a legend. Having fronted the shamefully under-appreciated Pretty Maids forever (well, since 1981), Atkins had more recently reached a much wider global audience with his presence and huge contribution to Tobais Sammet’s Avantasia project. He’s contributed many vocal contributions to these records and has been huge part of the touring backbone of this act for their last three Global Tours and finally got some of the wider recognition that his talents deserve. So the discovery that this solo album might well be the last thing we ever hear from him is little short of devastating. This album is the man saying goodbye to us.

Atkins has been battling cancer for some time and announced last year that having previously thought to be all clear, that he had received the devastating news that he it was back, in stage four and now terminal. With the world locked down due to this fecking pandemic and unsure of how much time he had left, he threw his all into producing a solo record that had been on a back burner for some time. The recording process was unusual, starting with the lyric lines laid down as a click track from ideas he has captured for some time and the other musicians adding their contributions remotely. It’s a tribute to his song-writing abilities that this would not have been at all obvious if he had not drawn our attention to it in the press release.

Opening with the heart-warmingly uplifting Real, this album starts as it means to go on – catchy songs, with warm and melodic hooks and lyrics that touch the heart. Scorpio is a straight out up-tempo rocker, which keeps the pace going before we get to the quite frankly outstanding title track. This song is all about the central message of this album – that you have one life to live and should make the most of it. This is a realisation so many cancer sufferers go through as their diagnosis and coming to terms with the possibility or imminence of death, that they realise that perhaps they have spent too much of their lives focused on things that do not actually matter and not enough focusing on the things that do – enjoying life and sharing that joy with the people you love most in the world. It’s a beautiful and heart-rending piece of music with an anthemic chorus that’s screaming for a huge festival crowd of raised phone lights – a sight which sadly we will never get to see.

The album continues to alternate between the upbeat and up-tempo and the songs that pull the heart strings and you are left with the sense that this is a man with few regrets on a life well-lived. It’s an incredibly moving and emotionally challenging listen, but frankly a fantastic record with some of the best song-writing he’s produced in his career and a hugely polished production sound. Without doubt a resounding but bitter sweet 10/10.

Secret Sphere – Lifeblood (Frontiers Music) [Matt Bladen]

Secret Sphere have been one of the leading bands on the Italian power/prog metal scene since the late 90’s, at nearly 25 years of playing music they have toured with some massive names and yet still manage to retain a distinctly central European audience, never really crossing the water to the UK (which has suddenly become less likely now). However if you have ever managed to catch the band live or listened to any of their records you’ll know they play an extremely technical yet very melodic style of power prog. Lifeblood is only their second album on Frontiers but it sees a major change since The Nature Of Time as original vocalist Roberto Messina returning to the band replacing Michele Luppi who is now keyboardist in Whitesnake. The return of the bands founding vocalist has meant that the other two remaining founding members Aldo Lonobile (guitars), Andy Buratto (bass), have a chance to create an album that will appease long term fans of the band who were weaned on Roberto’s soaring vocals.

So musically Lifeblood is probably the bands most diverse offering, both contemporary and classic sounding, this reunion has resulted in sounding more vital than ever. The heavier riffs driven by Buratto’s basswork and Marco Lazzarini’s perpetual motion drumming, even on a song like Life Survivors his percussion never slows, it’s a powerful engine room ready for the neo-classical keys, synths and orchestrations from Gabriele Ciaccia who adds the cinematic sounds to this record while Lonobile unleashes fretwork up there with your Petrucci and Romeo, his virtuoso playing adding an extra level to Lifeblood. I for one was quite excited to hear Messina return as vocalist as for me he is a core part of Secret Sphere’s sound, so when he really gives it some on Alive I felt a warm feeling in my chest as his melodic refrains were counterpointed by the expert playing of the instrumentalists. A new (old) start for these Italian veterans, who hopefully we will see more of here on the back of this great record. 8/10

Enforcer - Live By Fire II (Nuclear Blast) [Simon Black]

So this whole NWOTHM thing has been going a while now (that’s New Wave Of Traditional Heavy Metal if you blinked at the wrong moment) and certainly seems to have reached a peak last year – so much so that the latest crop of retro-influenced acts seems to have started to move on to the 1990’s. For those of us who lived through this period, we would rather you didn’t – that’s when it all went to shit for far too long. Fortunately Enforcer are still firmly of the opinion that the early 1980’s were what it was all about and this album shows their brand of Heavy and Speed Metal in the style of early Anvil and Exciter in its purest form.

The live show was recorded in Mexico before the world went to hell in a hand cart in 2019. The previous volume was split between a couple of shows in 2015, so it’s nice to hear a full show in its entirety and a 70 minute cut down video version is also due to be available on Nuclear Blast’s YouTube channel from the 19th of March. As always, these energetic young Swedes deliver a full throttle blistering rip-roarer of a show, with the mood and energy pushed up to 11 and beyond by the rabid mania of the audience, as only South American fans seem to be able to achieve.

The set list is pretty good too, with all the live favourites and a few of the more melodic and less frenetic tracks from 2019’s Zenith album. The older tracks really get things moving though, with an audience that knows every word and wants you to hear that and I can imagine them drowning out any hope the band had of hearing themselves on the monitors during Take Me Out Of This Nightmare, Undying Evil, From Beyond, Mesmerized By Fire, and the utterly bonkers rendition of Live For the Night. Even the more even-paced tracks from Zenith take on another level of energy, with One Thousand Years Of Darkness deserving a special mention here. As always, we can live without the instrumental solos, which as I’m always saying are best left in the history books (although the band in this case wisely keep them mercifully short). 

Solos aside, otherwise this blistering double album keeps the attention and energy all the way through, with spot on note for note performances from all concerned and vocalist Olof Wikstrand’s voice on absolutely top form. This was an hour and sixteen minutes of absolute Speed Metal joy. 9/10

Sunstorm – Afterlife (Frontiers Music) [Matt Bladen]

Sunstorm has probably been one of the longest running projects in the Frontiers canon, overseen by Serafino himself it was initially brought together as vehicle for the vocals of ex-Rainbow man Joe Lynn Turner, however when planning the fifth record that eventually became Afterlife, Turner dropped out of the recordings leaving a gap behind the mic. It seems that a straight swap was required as JLT has been replaced by Ronnie Romero the ‘current’ Rainbow vocalist and hard rock project extraordinaire. Afterlife is distinctly aiming at the sound of those early Sunstorm releases Alessandro Del Vecchio (production/keys) wanted to bring back the AOR sound of those records and with the breezy opening duo of the title track and One Step Closer, it’s pretty much spot on for those early records. 

Romero is a versatile vocalist in the hard rock/metal style he has cultivated as a genre base, there he has a Dio-like edge whereas his first foray into the lighter AOR songs that are featured here, he is part Bonnet, part JLT and even has some Eric Martin too. There’s a pretty much mix of driving rockers and ballads on the album Swan Song is probably my favourite number on the record, with that name you’d expect a Zep clone but you actually get that Rainbow sound with Del Vecchio adding Airey/Lord organs and DGM’s Simone Mularoni going full Blackmore. If you’ve liked what’s come before from Sunstorm, or indeed love AOR at its slickest then you’ll find a lot to like from Afterlife, especially because Romero slots in almost incognito, reminding you of his vocal talent. 7/10

Reviews: Turbulence, Fuath, Heart Healer, Olde (Reviews By Matt Bladen & Paul Hutchings)

Turbulence - Frontal (Frontiers Music) [Matt Bladen]

Lebanon is probably not the first place you think of when you talk about metal/rock heartlands. It is even more rare for a prog band to come from this region. Formed by guitarist Alain Ibrahim and keyboardist Mood Yassin in 2013, Frontal is the band's second record, it's a concept piece that really brings the vision of these two men together as a heavy, complex, modern progressive metal record. Joining them are Omar El Hage (vocals), Sayed Gereige (drums) and Anthony Atwe (bass), the five piece exploding onto the worldwide music scene due to signing with Frontiers Music, yet another addition to the labels burgeoning progressive metal roster. 

There's no hint of AOR here, it's a heavy release full of crunching riffs played in odd time signatures, jazzy shifts in pace and tone, lots of twitching electronics and versatile vocals, it balances light and shade really well with a fusion of melody and technicality that reminds me of the first two Haken releases where the aggression and overall darkness was much more audible. I'm not really that familiar with the concept but it does sound like a very sombre release, the downtuned riffs coming aggressively as the drumming flourishes throughout, the keyboards also used rhythmically on tracks like the opening number Inside The Gage.

It's a track that gives you an overview of what Turbulence are about as it shifts between the influences of Dream Theater and Yes with ease, packed full of guitar and keyboard solos as it shifts into the buzzing EDM sound of the percussive Madness Unforeseen a song with a huge chorus, the electronics shifting into Dreamless which in turn moves things into the synth heavy, jazz number Ignite. This is only halfway through the album and I found myself totally enamoured with this release, it's a stunning prog metal record that gets better with repeated listens, I haven't been this excited about prog metal since the last releases from Haken and Sons Of Apollo. 9/10 

Fuath – II (Season Of Mist) [Paul Hutchings]

Andy Marshall makes Steven Wilson look positively geriatric. The engine behind Scottish black metal unit Saor, he’s also got a lengthy list of other projects. Fuath is an atmospheric offshoot of Saor. With its Gaelic translation meaning ‘Hatred’, Marshall has harnessed some of the rawest and prolific inspiration from those early days of the 1990s and energised the power into what was never intended to be. Fuath was initially a one-off project that produced 2016’s I. The creative urge is never far away though, and Fuath’s return with II is a bonus for those whose tastes linger longingly for the vibrant emergence of Darkthrone, Burzum and Mayhem. 

It’s inevitable to reference Saor’s work but whilst the roots of that band focus more on Scottish themes and melodies, Fuath leans more towards the Scandinavian sound. II is submerged in the tumultuous frozen Northern backdrops that provided so much of the settings for 90s black metal. The expansive nature of the music on this five-song release allows creation of atmospheric soundscapes, sonically impressive compositions that are relentlessly hypnotic and powerful. 

Having walked the darkened forests in snow and frost during 2019’s winter days, Marshall embarked on a recording process in August and September 2020, enlisting the help of Spanish drummer Carlos Vivas to compliment Marshall’s handling of all other instrumentation and vocals. 

Although Fuath maintains much of the traditional black metal tools, there is much more to the arsenal in this second album. The walls of shimmering riffing, frenetic blast beats and strangulated vocals remain in place, but they are sharpened and complemented by contrasting passages of melodious calm, elements that support the spiritual factors that influenced much of the writing. As such, songs like Pyre and Into The Forest Of Shadows are delicately balanced, flitting between maniacal bursts of speed and harrowing screams and gentle, calming segments. The soaring sections are uplifting and provide evidence of why Marshall decided to progress Fuath from a side-project to something more focused and creative. The use of occasional clean vocals on Essence is also welcomed.

With Fuath now a serious concern, II benefits from improved production values. It’s an album which benefits from the increased clarity.  II is captivating, engaging and an impressive latest piece of work. 8/10

Heart Healer: Metal Opera By Magnus Karlsson - S/T (Frontiers Music) [Matt Bladen]

Now many of you, if you follow the comings and goings of Frontiers Music projects, will know the name Magnus Karlsson. He is the guitarist of Primal Fear, The Ferryman and his own project Freefall along with providing musicianship for both Allen/Lande and Kiske/Sommerville. Heart Healer is a natural extension of the name projects (Allen/Lande, Free Fall ect), a full on Metal Opera featuring seven of the best female vocalists in the world of rock and metal. Overseen by Frontiers President Serafino Perugino, Heart Healer is a project with a huge scope aiming for the likes of Avantasia and Ayreon, with it's symphonic conceptual nature, every vocalist playing a different roles in the storyline. Karlsson puts this album down to his interest in orchestral music and it's here that the record differs from previous ones as his songwriting and guitar skills are not in doubt but his scoring for an orchestra is a revelation songs like Back To Life are lifted to another level by the strings, he calls it grandiose, I'd make comparisons to Nightwish and Epica on bombastic Into The Unknown. 

The main character of The Heart Healer is played by the excellent Adrienne Cowan (Seven Spires, Sascha Paeth's Masters Of Ceremony, Avantasia), she appears on the majority of the tracks and is a perfect fit as the 'main' voice on this record, powerful and dramatic, she also very versatile, meaning she can blend with the other singers very well, whether it's the stronger tones of Netta Laurenne (Smackbound) or Noora Louhimo (Battle Beast) or those on the lighter scale such as Anette Olzon (The Dark Element, ex-Nightwish) and Ailyn (Her Chariot Awaits) she is adept at moving into either. With Karlsson is a very talented band of musicians but it's his compositions that really bolster this record, especially the orchestrations making it reach those heady heights of Avantasia or Ayreon (or Aina for metal opera nerds). I'd personally love to see this record performed live with a full band and orchestra as I think it would be brilliant, though the cast of musicians may be difficult to wrangle. Still Heart Healer is a metal opera that takes on the genre leader with a unique premise and song brilliant songwriting. 8/10  

Olde - Pilgrimage (Sludgelord Records) [Paul Hutchings]

This is a sludgy great swamp of riffs, down tuning and fuzz. Pilgrimage, the third full-length from Toronto doom & stoner merchants Olde is simply great. The riffs are crushing, the tempo varied from pulsating, driving hard rock to monolithic, glacial movements that crawl. At no time does the heaviness drop, yet they manage to weave melodies and some good old rock n roll into the mix. 

Thunder crashes as A New King kicks the album off, a devastating and punishing wall of sonic abuse, the roar of Doug McLarty powering above the shovel sized guitar riffs that threaten to split skulls. It’s a massive opener, and with enough heft to move mountains. As the album develops, each track offers up something new, yet familiar. The title track is a five-minute stomp, sans vocals for the first three minutes, as the band slow the pace and let the sheer intensity of the tumbling riffs do the work before McLarty opens the gravel-soaked pipes once more. It’s impressive from start to finish.  

Having waited four years since the release of Temples, their second album in 2017, fans of Olde must be chewing their arms of in anticipation. The wait is worth it, for this is a record of epic proportions. Slab after slab of thick riffs rarely fail, but it’s always the delivery that makes the difference. Pilgrimage also features guest solos from “Chewy” Daniel Mongrain of Voivod and Nichol S. Robertson as well as a dramatic and chaotic saxophone segment during Dead Hands, thanks to Nick Teehan. Olde have done that and delivered a gargantuan beast of an album. Massive. 9/10

Reviews: Moshin' The Roof On 2 (Compilation Review By Paul Hutchings)

Moshin’ The Roof On 2 – Various Artists [Paul Huchings]

From 1993 – 2003 I worked in the Homeless Unit at Cardiff Council. I worked with hundreds of families and individuals who were homeless or threatened with homelessness. It was a challenging decade, often fighting for limited resources and applying a law that didn’t always fit with the available supply of accommodation. I was mentally broken at times from the stories that I experienced and all the time I had the luxury to return to a warm bed with a roof over my head. Why am I telling you this? Well, one of the key sources of support was Shelter Cymru, the charity who housing advice has been helping thousands since it was set up in 1981. Now badged as the ‘People and Homes Charity’, they continue to advocate, campaign, and provide practical help for those with housing problems.

Last year’s incredible effort by UK Thrashers’ Neil Brannigan Fuller saw a whole bucket load of cash (over £2000) raised for Shelter through the album Moshin’ The Roof On. The album showcased some of the best thrash bands from across the UK, all of whom freely donated their music for this venerable cause. But like a rottweiler on a bone, Brannie is not one to let things lie, and as well as all the relentless work he does for the UK thrash scene, he’s now curated Volume 2, following the same format as before but with a plethora of new additions alongside some older favourites who are back for a second serving.

Put simply, if you like UK metal, this album is worth buying. If you are thrash fan of any denomination, this album is an essential purchase. 30 UK thrashers combine forces for over two hours of face melting fast paced riffage. And there’s hardly a dud across the whole release, with some absolutely blistering tracks for your money.

What’s most impressive across the album is the well-balanced mix of angry, feisty young guns who are straining at the leash, standing tall alongside the older school veterans who are still razor sharp over 30 years since they first cut their teeth. The likes of Virus, Elimination, Solitary and Trapped in Purgatory are happy to show their younger peers like Tortured Demon, Steel Mage and Elyrean that there is nothing to beat experience and these gnarly elder statesmen do it with some style.

There’s a swell of pride for the South Wales scene as well, with the inclusion of two of our favourites from the M2TM scene who take over the flag carrying from Excursion who appeared on Vol One. Swansea four-piece Sepulchre managed to get enough of the correct fuel in the tank to get their track Kill Me placed midway through side one, whilst West Wales boyos In Which In Burns, throw in The Silence In My Head, fresh from their recent full length release Silence the Nothing.

The production values vary, which is unsurprising as many of the bands assembled are unsigned and very much follow the DIY ethos, something the old timers amongst us remember only too well. There’s also a pleasing variation in quality and style, and as I said there isn’t a bad song on the whole release.

There are too many bands to cover each one, so let’s pick out a few highlights. Side one features a broad range, from the riff heavy veterans Virus with their ferocious The Hand That Feeds You and the returning Trapped In Purgatory whose Hung Out To Dry is taken from one of the best thrash albums of the year, Damned Nation. There’s additional Scottish goodness from Edinburgh’s Ifreann who solo like it’s going out of fashion with the pulsating Of Blade And Blackened Wings. Sepulchre’s Kill Me slows things down, and despite the muddy mix it remains one of my favourites by the band.

The inclusion of Birmingham’s Ashen Crown adds heft, with Kieran Scott’s guttural vocals and the overall death metal approach injecting some fire and brimstone into proceedings. Nottingham’s Incinery bring even more credibility, sharing Hollow Earth from last year’s magnificent Hollow Earth Theory which was a highlight of last year. And who could leave out the North East music collective Scarred By Truth whose song Sociomedia is another razor-sharp social commentary and a welcome inclusion.

Diving straight back into Side Two is crammed with quality. The resurgent Solitary kick off the second disc, and we see the Preston old school thrashers savage with Abominate, before a double shot from London with the bludgeoning style of Thrasherwolf’s A Thousand Eyes which contrasts dramatically with the rapping thrash of Tempashot whose Gunning For Gatekeepers demonstrates the breadth of quality within the UK thrash scene.

Time for the youngsters to show their steel and it would be unacceptable to bypass Oldham’s Tortured Demon whose debut album In Desperation’s Grip rightly caused a wave of excitement earlier this year. Sufferers Of The New Plague isn’t their best track, but the progressive nature of the song demonstrates a maturity that augers well for the future. Alongside them, Manchester’s Steel Mage throw in their lockdown inspired single Mandatory Detention.

The powerfully thick riffage of Imperium’s Here Comes The Night is another massive track, following the punch to the face that is Novichok, the nerve agent thrashers from the North East whose savage Cease And Desist leaves nothing to the imagination. Just bang your head and ask no questions! And if all that isn’t enough there’s still time for the clubbing crossover thrash of Sidewinder, which leaves a boot print on the side of your head.

Hellfekted should be well known to more metal fans these days. The Stoke-On-Trent lads have been building momentum with their blackened thrash for the past couple of years and Method Of Destruction is a nasty little beast which leads to the final song on the album. Glaswegian black speed metallers Night Fighter have the honour of closing proceedings and don’t mess about with Ripper.

If you only buy one release this year, then Moshin’ The Roof On Two is the one to get. Should you need help with housing, then more information about Shelter can be found at https://sheltercymru.org.uk/ and https://www.shelter.org.uk/ You can find more about the UK thrash scene at https://ukthrashers.org/ or on all the usual social media platforms. 10/10

Reviews: Devin Townsend, Landmvrks, Mono, Cosmic Reaper (Reviews By Simon Black, Liam True, JT Smith & Paul Scoble)

Devin Townsend – Devolution Series #1 – Acoustically Inclined, Live In Leeds (Inside Out Records) [Simon Black]

Devin Townsend has always been a fairly busy chap and as his verbal introduction to this record shows, with no less than twenty-four albums worth of material across his career to draw on, he had a lot to choose from for this set list. Technically this is a re-release, previously included as a bonus Blu-Ray disk on the super-duper extended edition of Empath and a chance to hear the songs on audio for the first time. This show was recorded in Leeds and is basically him playing more or less on his own with an acoustic guitar and a laptop for backing purposes … and a bunch of cuddly toys. Go figure.

Having got the whole Empath project put to bed, he has mined the archives for quite a broad range of tracks from Strapping Young Lad, the Devin Townsend Band and Devin Townsend Project years, many of which will not be familiar to all but the most devoted and ardent followers of his work. It sounds like it was a really informal and laid back affair, with a lot of verbal interaction with the audience. In fact we are several minutes of chat into the record before he even plays a note. What the quite short recording misses from the original show was the organic interplay between him and his audience, who would shout out requests and ask questions throughout. To be honest that’s fair enough, as unless you were watching this on video that would not work and letting the music do the talking on disk makes perfect sense. That said, there’s plenty of banter in the songs which shows his quick fire wit and intelligence and that slightly dangerous sense of spontaneity is one of the reasons why this thing works so well. Sometimes he takes it too far though, such as the numerous comic interruptions to Love? which do jar after a while.

That said, acoustic and intimate shows often lose much of their atmosphere when out of the actual room, so unless you really are a massive collector or got to see one of the performances and are looking for a keepsake, then this might not be for you. Performance wise though, Townsend as ever gives it his all and reminds us (if we needed it) as to why he is one of the most talented singer, song-writer, multi-instrumentalist would be stand-up comics currently on the circuit. 6/10

Landmvrks – Lost In The Waves (Arising Empire) [Liam True]

Since forming in France in 2014, Landmvrks have released two studio albums, an EP & a live album. Supported bands like While She Sleeps & Any Given Day and have now released their third album Lost In The Waves. Having been on my radar since 2018’s Fantasy, I’ve been looking forward to new material from the band. And they haven’t disappointed. Opening track Lost In A Wave is a slow start but hits straight into the bands signature blend of Metalcore & Hardcore with the chuggs of Nicolas Exposito & Paul Wilson turning into riffs upon riffs while Florent Salfati projects his distinguishable cleans and howls across the record. It’s a catchy song with powerful instrumentals that starts the album off right. Rainfall is a more Hardcore approach than their usual Metalcore style but it fits alongside the rest of the album as the guitars are fast and Salfati keeps up almost rapping until he emits his low growls. Visage is the most unusual track on the album as it starts almost like a trap song with Salfati rapping in French until the drums of Kevin D’Agostino breaks the sound and the booming bass of Rudy Purkart unites the band as a cohesive unit that shows they can make anything sound gorgeous.

Tired Of It All & Say No Word are where the band can change styles as it goes from the calm melodies of Tired Of It All to the fast paced Say No Word where Salfati is keeping his fast vocals up with the paced blast beats and frantic fretwork of the band. Shoreline is a small interlude that cranks right back up to eleven when Overrated, which is an ironic name, gets the band at 200MPH as the band is on fire and proves they are part of the new wave of Metalcore. Every decade has had it’s leading band as the so called ‘Passing of the torch’ has happened many times in Metalcore. The 2000’s had Killswitch Engage. The 2010’s had While She Sleeps. Now the 20’s are being pioneered by Landmvrks. And Lost In The Waves has cemented their place in the heavy hitters and leaders of the genre. 9/10

Mono - Beyond The Past (Pelagic Records) [JT Smith]

Live records can be a bit hit or miss; Sometimes, they’re the legendary Rock In Rio performance by Iron Maiden in 2001, or they’re the 72 separate live dates that Pearl Jam inexplicably decided to release in the early 2000’s (none of which were bad, but did they really need to release 72? 72?), but the prospect of a live record spanning two hours of the legendary career of Mono with the Platinum Anniversary Orchestra? With collaborations from the likes of Jo Quail and A.A Williams? Sign. Me. Up. God Bless and After You Comes The Flood are incredible in the live setting, and the very first thing that hits you is just how meticulously well mixed this is. The sound is *incredible*, and no wonder the crowd noise is at a minimum except for obvious cheering at a tracks close; You are mesmerised by this performance. Breathe is all subdued atmospherics, and breathless, quavering whispers of vocals, and gorgeous, heavily reverbed guitar...

And then… Then we come to Nowhere, Now Here.

Wow. This is just… Breathtakingly, cinematic, with ebbs and flows over the first 3 minutes of its lifetime, before building into this tumultuous, roaring cacophony that they somehow manage to maintain and keep dynamic for seven minutes of the most incredible post rock beauty. It’s a testament to the band’s incredible artistry and commitment to excellence that older numbers like Death In Rebirth or Ashes In The Snow (which is the song that they’re arguably best known for) still sound as good, especially the latter number, because playing a song for as many years as they have, one feels that maybe they’d be bored of it. If that is the case, there’s no outward signs. Jo Quail joins them onstage twice, once for the older classic Halcyon (Beautiful Days), and again for set ender Com(?), and A.A Williams joins them onstage for their collaborative single and penultimate song Exit Into Darkness, which is hauntingly, and heartbreakingly intimate.

Every bit of post rock you’ve heard in the last twenty years or so owes this band a huge debt. It is literally as simple as that. And this record shows exactly why. Simply sublime. 10/10

Cosmic Reaper - Cosmic Reaper (Heavy Psych Sounds) [Paul Scoble] 

Cosmic Reaper have been making very huge and heavy music since 2017. In that time the band, who are based in North Carolina, have only made one release in 2019’s EP Demon Dance. However, as Cosmic Reaper play a particularly huge style of Stoner Doom, taking a while to get your debut album out is practically mandatory, and when the band have managed to come up with a pretty much perfect name for a Stoner Doom band they can take as long as they want. So, what have Garrett Garlington on Bass, Jeremy Grobsmith on Drums, Dillon Prentice on Guitar and Thad Collis on Guitar and Vocals come up with in that four years? 

The album opens with the track Hellion, which kicks the album off nicely with a big, fat and very heavy doom riff. The tempo is relaxed but purposeful, vocals come in and they are clean and full of personality. The song has a very memorable chorus and is a very heavy and tuneful piece of fairly simple doom. Next up is Heaven's Gate, which vacillates between very slow and heavy, and a more drifting, dreamlike style. The song also boasts some very good guitar harmonies in a song that has more complexity than the opening track. Stella Death is a cracking track that mixes very heavy riffs with sections that are much more minimal and restrained. 

Some of the riffing has a definite Black Sabbath Into The Void feel to it, and if that isn’t a compliment, then I don’t know what is. Next we get a two part composition with Wasteland I and Wasteland II. Wasteland I is a very pleasing bluesy instrumental that acts as an intro to Wasteland II. Wasteland II crashes in with a huge and heavy riff, the song has a fairly minimal but driving verse and a big and heavy chorus. In the final part of the song there is a very effective series of guitar solos that really make this something special, and builds the song to a huge ending. Planet Eater is the longest track on the album, which is all about dynamics. The track opens with heavy but very discordant riff, this builds in intensity until its massive, the track then returns to the discordant and minimal feel from earlier, and the build happens again. The song comes to an end with a suitably huge riff. The album comes to an end with Infrasonic, which has a slow and relaxed tempo. 

There's some very nice guitar work and the track brings the album to an end in a very huge and heavy way. Cosmic Reaper is a very impressive debut album, the band clearly spent the last four years perfecting their craft. The overall standard of musicianship on display on this album is breathtaking. Its packed full of big hummable riffs that will set your head nodding, and loads of great melodies and solos full of tune-fullness. If Cosmic Reaper had been going for years this would be a very accomplished album, for a debut it’s staggering, highly recommended. 9 /10

Reviews: Thunder, White Void, Enforced, Drudge (Reviews By Matt Bladen & Paul Scoble)

Thunder - All The Right Noises (BMG) [Matt Bladen]

With their thirteenth studio album, Thunder firmly establish their latter period purple patch, and reinforce that their self imposed hiatus in 2009 was well worth it as when they returned in 205, their music sound more vibrant and honest than ever. Gone are the days of Dirty Love and Backstreet Symphonies, replaced by All The Right Noises showing Thunder as the elder statesmen of British rock n roll. Still making honest and insightful rock music that not only gets the foot tapping but the mind thinking too. Recorded before and during the first Lockdown and originally planned for release in September, the band have obviously put this album out now in the hope of being able to tour it later this year. What is noticeable about this record is that it's full of social and political commentary, Danny Bowes lamenting being a youth today on Young Man while St George's Day is an indictment of English patriotism and the veil of racism it uses to change opinion.

With some bands this could seem like pandering but Thunder have always have had a knack of not only appealing to the common man but also using their music as a force for good, calling out injustices, much like their blues influences. On Force Of Nature we get a track about those that get away with murder just because they are in powerful. (Think those that are orange or blonde ditherers) Worry not though Thunder suddenly haven't become RATM you still get some slinky rock ditties like She's A Millionairess, Going To Sin City and Last One Out Turn Off The Lights, the latter two adding lots of sexy brass for that full show band feel. You also get some Zeppelin like riffs from the duo of Don't Forget To Live Before You Die and Destruction., where Luke Morley, Ben Matthews and Chris Childs' riffs are heavier. It's not all about the big ballsy rock riffs though , there's an Country Appalachian feel of Smoking Gun where Harry James' percussion is close to pots and pans as the acoustics, mouth harps and tambourines lead this locomotive numbers and of course there's one big ballad in I'll Be The One, but this never breaks the propulsive pace of this album, keeping you entertained from the first to the last note. Still one of the finest rock acts Britain has ever produced, with no signs of slowing down Thunder are definitely making All The Right Noises! 9/10

White Void - Anti (Nuclear Blast) [Paul Scoble]

White Void could quite easily be described as a supergroup. The band might be on their first album, but are getting a lot of interest due to the stature of the members. The band is led by lead singer and songwriter Lars Are Nedland who’s day job is split between Black Metal giants Borknager and Solefald. Lars is joined by Tobias Solbakk from In Vain and who also drums for Ihsahn, Electronica legend Vegard Kummen, and Blues virtuoso Eivind Marum on Guitar. The band play a style of Hard Rock that sways between the seventies and eighties, and also has a certain amount of New Wave in the mix as well. Lyrically the songs deal with the absurdist philosophy of Albert Camus. The album opens with Do. Not. Sleep. which is a piece of uptempo Hard Rock that initially feels quite eighties, there is also a hint of New Wave to the sound as well. The chorus jumps back a decade for a much more seventies feel with the addition of an organ and some very pleasing layered vocals. 

Next track There Is No Freedom But The End has a taut, minimal verse that has a lot of drive, the big organ is back for a more expansive chorus part. The song also boasts some great vocal harmonies and a very pleasing bluesy guitar solo. Where You Go, You'll Bring Nothing is a softer song, much more of a ballad. The pacing is slow but the song has a lot of weight, I hesitate to use the term Power Ballad, but that's pretty much what this is. The track builds in the second half and has a fantastic jazz infused solo, by the last quarter the song has a swing to the tempo that works very well. The Shovel And The Cross is a cracking piece of seventies psych rock. This Apocalypse Is For You is an up-tempo blast of hammond organ driven rock. It boasts a great solo, a layered vocal part that feels huge, and is a huge, fun track. All Chains Rust, All Men Die is a mid-paced, fairly introverted track that has a Prog Rock feel to it. The vocals are superb and again the guitar of Eivind Marum is a standout part of the song. The Fucking Violence Of Love is another track with a seventies feel to it, but this time it feels a little bit leaning towards southern rock. 

The big hammond organ is still there, but the main guitar riff feels more dominant. Final track The Air Was Thick With Smoke takes us back to a more eighties sound. The organ is replaced with a synth and feels much more electronic. There is a slightly more clinical feel with this track, I’d imagine this being listened to by yuppies in their Porches, as they talk about stock options, rather than by hippies sharing a joint. Although it’s an enjoyable track, it does feel a little bit out of place when compared to the other material, although that may be deliberate. Anti is a very accomplished album. The eight songs are very well written and have been recorded by clearly very talented musicians. Vocally the album is stunning, particularly when they are being layered. All of the performances are great, I especially enjoyed the guitar work, but it feels a little unfair to single out any of the performances, as they are all so good. A hugely enjoyable piece of Hard Rock. 8/10

Enforced - Kill Grid (Century Media Records) [Paul Scoble]

Based in Richmond, Virginia Enforced have been making fast Thrashy music since 2016. The five piece made up of Ethan Gensurowski on Bass, Alex Bishop on Drums, Will Wagstaff on Guitar, Zach Monchan on Guitar and Knox Colby on vocals, are on to their second album with Kill Grid, coming two years after their first album At The Walls. Enforced play a very fast and frenetic style of Thrash Metal, with a definite slant towards Crossover Thrash. The main thing this album has is energy, so much energy. It’s a blast of tight, fast riffs, pounding drums and frantic, urgent vocals. The album kicks off with the track The Doctrine which opens with a pounding mid-paced riff, that is full of energy and drive. The track then goes into a really fast Crossover Thrash part that has massive power and rips along in a way that will cause whiplash. The song vacillates between these two feels, and fits in a fantastic solo as well before a huge and heavy ending. 

The main style of thrash Enforced play is Crossover, thrash with a little bit of a taste of Hardcore added to the mix. The band do give a nod towards a more traditional thrash sound; on the track Beneath Me in between the high energy crossover thrash there are some mid-paced riffs that have a definite Slayer ‘Reign In Blood’ feel to them. Enforced are very good at really fast thrash, the fast riffs on this album are tight as anything, they crack, sizzle and spark with energised power. However, thrash sometimes needs something to juxtapose the high speed elements, and Enforced also have a talent for slow and heavy. Title track Kill Grid opens with a riff that is staggeringly slow and heavy, it batters the listener in a very pleasing way and adds some welcome weight to the song. This section has a great solo as well, one of many rippingly fast and intricate solo’s on this album. 

I’ve mentioned Crossover Thrash a number of times in this review, so let’s deal with the elephant in the room; how do they compare to Power Trip? Pretty well, the album has a great production job and a fantastic guitar sound that is comparable to the sound on Nightmare Logic. There is a similarity in the quality of the riffs and the huge amount energy that is on this album. There are a few closer similarities to Power Trip as well; the track Curtain Fire has an unstoppable mid-paced pacing that is reminiscent of the track Executioners Tax (Swing Of The Axe). Kill Grid is a cracking album. It’s packed full of power, energy, drive and some incendiary riffs. The album never dips in quality or drive. The pacing on the album is very impressive, even when the riffs are slow the tempos feel driving and unstoppable. This is an album that will cause some serious neck damage, I can’t imagine anyone would be able to listen to this without head-banging. An absolute blast of an album. 8/10

Drudge - Lay Your Burden Down (Self Released) [Matt Bladen]

If for any reason London stoner metal legends Orange Goblin decided to hang up their instruments (God Forbid they do), there will be a list of bands in line to take their place however other than Blind River I would put forward Cumbrian riff machine Drudge, whose debut album Lay Your Burden Down is mining a rich vein of thundering heavy riffs, rowdy vocals and a take-no-shit attitude. Release Me gets us grooving with some slow doom before things pick up with the blues of the title track which sits in between the heavy riffing of A Shot Of Redemption and Rattlesnake. As you'd probably guess there is a massive Orange Goblin influence on this record but also touches of Clutch and Monster Magnet (Higher State Of Mind), as it's a debut they've yet to fully develop their own take on this sound so there are a lot of musical similarities to the influences but hell it's done with experience making for a record ideal for drinking a couple of beers too. 7/10

Women & Metal Part 1 (Opinion Pieces By Beth Jones, Dr Claire Hanley and Holly Frances Royale)

Not a subject that I could possibly comment on, thankfully we have had three women from different spheres of the music world share their own opinions/experiences of being a woman in the rock/metal.

Beth Jones - Smash Mouth Records Founder, Musician

My name is Beth, and I’m a girl. My gender is hard to pinpoint, so I stick with girl, because it’s the best fit for me. I’m 28, I’m from Wrexham originally, and I’ve been in bands since I was 15, and playing guitar for a few years longer. I’m currently running a record label, having recently graduated from a Masters in Creative Music Practice, and playing guitar and vocals in a skate punk band called BoxCat.

Academically, I have found myself the odd one out because of my gender. Throughout college, I was the only girl in my class, and after requesting to my tutor that I would like to be treated no different in a private chat, he later tousled my hair in front of the entire class and said ‘what? You wanted to be one of the boys.’ unsurprisingly, he never did this to my classmates, nor did he comment about their weight constantly like he did to me. University was way more diverse, and it was great to have other girls as peers and I found this made me feel less like an imposter, making it a more comfortable learning environment to me. Of course, there were still comments from classmates that they thought I didn't hear, but I have learned from a young age to pretend I didn’t.

From the moment I started playing shows, to the present day, I have had some awful experiences with other bands regarding my gender. The earliest I can remember was from a mansplaining guitarist insisting I was using the wrong gear, using the most ‘I’m talking to you like you’re an idiot way’. Back then, Total Guitar was my bible and I knew what I liked in gear, and I didn’t appreciate the way I was being handled, but I just smiled and told him I was happy with what I had.

Similarly, I had an experience with a sound engineer at a BoxCat show, who was trying to babysit me as a musician. I was lending an amp from another band, and the sound engineer pushed his way on stage as we were setting up for sound check and went to plug my pedals in, and said ‘let’s dial in a tone for you shall we?’ in the most patronising voice. At this point, I had over 11 years experience of playing shows, and I just felt insulted and belittled. I positioned myself in front of the amp and smiled and said ‘don’t you worry, I’ve used an amp before’ in the most sarcastic voice I could muster.

My most notable run-in with sexism as a femme presenting musician, was when I asked another local band politely to stop posting misogyny all over their social media in a private message. The response was an accusation of slander, a threat of being sued, and a threat of giving my band a bad name. The band in question then publicly posted my messages to them, and encouraged their friends to publicly harass me, all for standing up for the young girls that would frequent their shows. However, the amount of people that came to my side and argued my case, banned them from venues, shows and festivals, was an incredible act of solidarity, and I remember each and every person that did something to help me during that event.

I’m a huge fan of my bandmates, three amazing cis men, for the way that they have never ever made me feel any different than one of them. They see my gender, but they never ever let it be a divide between us. The BoxCat boys support me as they do each other, and make me feel like I’m not the imposter my brain tells me I am.

My record label, Smash Mouse Records, was born out of this desire to improve the visibility or marginalised communities at a grassroots level, and create a community safe space for those that need it. We’re quite like a support group as well as a label, and I’m so proud of everyone that participates with it. It feels like a family, and I feel like less of an imposter because of it.

I think that's what representation is important for; making everyone feel like they belong in the scene, and that it shouldn't be a place where privilege gets you further than everyone else. I used to teach guitar at Primary school level, and my favourite thing about it was watching more girls sign up as they realised that a girl would be teaching them. I hope to see those girls playing our local venues and maybe go even further. I hope that I have paved a path for more girls to play music. I will feel like I’ve done my job then.

Dr Claire Hanley - Metal Fan, Dr of Advanced Neuroimaging Methods

Let’s talk feminism. No seriously, keep reading. I promise I’m not talking about the bra-burning,
man-hating connotations the term usually conjures up. Bringing feminism back to basics, we’re
dealing with the overarching goal of equality. Women being viewed as equivalent to men. That
sentiment I can firmly get on-board with, and as far as my perspective goes, so can the metal scene;
despite the cock-waving machismo it personifies on the surface.

As a woman who, since the age of 16, has been an avid fan of all things extreme metal, I’ve always
felt inspired by the powerful, take-no-shit attitude of it’s female frontwomen. While undoubtedly in
the minority, there are still plenty of examples: Cristina Scabbia (Lacuna Coil), Tarja Turunen (former
Nightwish), Tatiana Shmailyuk (Jinjer), and somewhat more behind the scenes yet still fundamentally
crucial, bassists Jo Bench (Bolt Thrower) and Samantha Mobley (Frozen Soul; my current new OSDM
obsession). These women are not where they are because the scene needs to fill a quota. There are
no free passes. They’re incredible at what they do and are more than capable of succeeding in a
male-oriented domain.

This time last year, January 2020, a Louder Sound article caught my eye. “Will ‘female-fronted metal’
finally die in 2020?” it boldly asked. Sensing that I was about to read an article on how the presence
of women in metal was a gimmick that needed to stop, I could feel the rage building and that was
just the title. Yet, what greeted me was a somewhat thoughtful piece about how women in metal
are a firm fixture; suggesting the need to drop gender labels altogether. Perhaps not so divisive after
all. What I couldn’t get over though was the undertones of discrimination in the narrative – the
suggestion that because metal and it’s numerous sub-genres remain male-dominated, it is inherently
rife with sexism. 

This I have to disagree with. I’m going to go out on a limb here but hear me out; I
don’t believe achieving equality means equal representation. 50/50. Striving for there to be as many
women in the scene as men does not automatically align with admiration and respect, which for me
are core values that encapsulate equality. Equality is about attitude, it is not a numbers game.
Speaking as a woman who is incredibly fond of all things extreme; I have no interest in seeing
mediocre bands emerging just because they tick the female demographic box, and I would be
genuinely devastated to see the scene go this way just to make a point.

Like anything worth achieving, becoming an established artist – whatever your gender - likely comes
with a certain element of challenge. The examples above attest to the fact that, although they may
well exist at some level, any perceived barriers to women excelling within the scene are far from
insurmountable. My ultimate inspiration, my death metal ride-or-die, Angela Gossow (former Arch
Enemy vocalist), possesses some of the most ferocious gutturals I’ve ever wrapped my ears around.
She absolutely exuded dominance in a live setting and on the occasions when I saw the band, I was
mesmerised by her stage presence. It was her space and she commanded it. Proof that devoted,
talented women belong in the metal scene. You don’t agree? Go tell Angela that, I dare you.
Finally, the unavoidable issue of being a female at a metal gig. It can be tricky, I’ve heard some
horror stories and I’m not about to trivialise it. 

On occasion, you have to deal with the wandering hands of a muscle-tank wearing Neanderthal, stretched earlobes dragging on the floor alongside their knuckles, but I personally haven’t experienced this to any notable extent. It probably helps that I have a death-stare that could freeze hell, and am nearly 6 ft in boots that you really don’t want making contact with your dangly bits, but I’ve never found traversing gigs to be problematic. I’d say that the incidence of unwanted attention at metal gigs is less prevalent than in the club scene and we’re probably dealing with more of a societal issue with gender here than one pertaining to metal per se. 

Throughout 2019/early 2020, when gigs were actually a thing, I remember remarking on the

rise in the number of females in attendance (that were actually there out of choice, not because
their significant other’s dragged them along). I enjoyed seeing the ratio shift (but in general - the
more people of any gender at gigs the better) even though it meant giving up one of the key perks of
being a female at a death metal show; not having to queue for the toilet. I maintain that it’s not a
numbers game but there are plenty of us, often giving as good as we get in the pit. At smaller shows,
the guys don’t always know how to respond and will initially be hesitant about slamming into you.

Quite the considerate move if you don’t have the intention of being a malicious asshole. Past this

point though, it is business as usual – male or female – you hurl yourself around and if you fall on
your ass, someone will pull you back up. One of the many reasons why I love being a part of the
metal masses. What could be more egalitarian than this? Camaraderie at its best and equality at its
finest.

Holly Frances Royle - Journalist, Publicist, Musician 

I grew up with my Dad being a huge rock and metal fan, so it’s perhaps not too surprising that I’ve been influenced by the heavier genres of music. I began piano lessons at an early age and not long after switched to guitar. I was about eight years old at this point, and, to be honest, at the time I think I started learning the guitar because my friend was having lessons! 

I remember guitar lessons at primary school having a roughly even mixture of both sexes learning the instrument. This carried on into high school to a point. I began to notice, around the age of fourteen, that I was in the mix of a predominantly male environment in terms of my guitar playing. Having gotten pulled deeper into the world of metal I soon noticed the lack of female band members, particularly guitarists, in the bands I was discovering. For me, suddenly it wasn’t just about playing because I enjoyed it, I felt a need to get out there as a lead guitarist to show other people that women could take on this role too. 

Something that I also found really strange was that upon introducing myself as a guitarist I was often met with a response along the lines of “so you’re a bassist then?” This was just baffling – I’d said I was a guitarist? I just didn’t understand why people couldn’t imagine me in the role as a guitarist. Looking back now, it seemed that being a woman in a prominent role, taking up space, was not yet widely accepted. Being a bassist, a position that stereotypically (and unfairly) gets slightly less attention was somehow deemed more ‘suitable’. Ultimately this just fuelled my determination even further. Not only did I need to show that women can play metal, I now needed to prove we can and should take up space in the ‘popular’ roles too. This is quite interesting as nowadays I much prefer to be chugging djenty riffs than showing off with lead solos, but at the time that was my focus. 

I began working in a guitar shop whilst studying for my A-levels at college. It was great, I was surrounded by fellow minded musicians and music fans. And, rather progressively, there were roughly an even number of male and female staff – I had noted most other music stores I’d visited tended to be male dominated with just one female (if any) working there. However, being told that older men like being sold guitars by younger women, wasn’t something I expected to hear. It was a little frustrating seeing customers with questions always heading straight to my male colleagues first, even if I was stood closer to them. And the amazement some displayed on discovering that I, a female, enjoyed metal!

It does seem, unfortunately, that these small, ‘accepted’ assumptions and discriminations about women in metal, and the music scene in general for that matter, still need to be overcome. I think the reality is that these habits and ideas are so deeply ingrained most people don’t even realise they’re displaying them in their actions. They are ultimately, demonstrations of everyday sexism. 

Overall, I haven’t had many negative experiences. Most of my experiences in the scene, as a musician, journalist etc, have been very positive. I almost wrote here that I’ve been quite lucky… and that says it all really doesn’t it? I shouldn’t feel ‘lucky’ that I haven’t had many unpleasant experiences, it shouldn’t be normal to have any. I experienced sexual assault at rock and metal festival once. 

An individual decided it was okay to touch me… needless to say it isn’t! On the whole I think the metal community is very welcoming and kind and caring. However, unfortunately, there is still some work to do in combating discriminative behaviours whether towards women, the LGBTQ+ community, or anyone for that matter. No one should be subjected to this. Since joining my metal band, Disconnected Souls, a couple of years ago and watching the vast array of emerging bands on the scene, I have hope that we can make a great metal community even better. There is so much good out there.