Reviews: King Mountain, Dope Default, Echoes Of Decay, Orra (Reviews By Matt Bladen)

King Mountain - Tempest At The Gates (Grooveyard Records)

Oh yeah. There's always a part of my brain that gets excited when I hear fat, blues riffs through a tube amp, played with in the slower stoner/proto-metal style. King Mountain play this kind of style and yes my synapses started firing and those endorphins began rushing through my body as soon as the strutting riff of Soul Sacrifice got this new record from the Athenian band going. From what I can see this is the fifth album from King Mountain and yes it's meat and potatoes, simple riff, chorus, soloing all wrapped up in a bluesy doom/stoner bow, but it's entertaining and make your head want to bang. 

King Mountain is another project from Stavros Papadopoulos who also is the creative force behind Revolution Highway and Super Vintage. Here he takes guitars and vocals, playing a more distorted style than in his other bands which lean heavily on Hendrix et al. King Mountain owes more to bands such as Spiritual Beggars, Fireball Ministry, Monster Magnet and even Karma To Burn. King Of The Mountain especially having that smoky Southern blues meeting big Sabbathian riffs. 

Stavros' vocals especially whiskey soaked here while his guitar playing is sublime throughout, the backing and are no slouches either. A tight knit unit that knock out these grooves together. You can digest all sorts of styles when you're a music fan/journalist but sometimes you just need a bit of tasty riffage to ease yourself into a good mood. Tempest At The Gates is good mood music, ideal for sunny days and good friends. 8/10

Dope Default - Division (Self Released)

Big riffers Dope Default return with their first album since their 2019 release Imprisoned. The Thessaloniki band added frontman John Campbell for that album and he continues behind the mic on this their third full length. On the previous record they added more melodic touches and these become more pronounced on Division. Having come from the raging stoner scene of bands such as Planet Of Zeus, on this record there's some Sabbath-like doom that opens Midnight Mass, but Dope Default have made sure to adapt what they offer a bit more on Division. 

There's a bit of Black Label Society on Future Without, a bit of grunge on Duplicity while Dope Default bring a touch of the American radio rock scene as well on first single Down To Pieces. Campbell's vocals are gritty so when they do pack in the stoner riffs on The Saint Of Killers he can give a snarl, but also has a lot of melody for numbers such as One More Time a song that feels like Distrubed or the ballad So Far Away. 

The rest of band consists of bassist Makis Georgiou and drummer Thodoris Anastasiadis who are the heavy undercurrent while guitarists George Kontouris and Dimitris Kolimvanos pair up for some nifty guitar work that changes between distorted riffs and fluid leads. Division continues Dope Default's evolution as a band successfully merging their stoner beginnings into something that now features plenty of shout along melodies. 7/10  

Echoes Of Decay - Delirium Of Madness (Self Released)

Thessaloniki based death/doom as Echoes Of Decay follow their 2019 debut full length Dive Into Darkness with this four track EP that solidifies their atmospheric death/doom with the influences of My Dying Bride, Katatonia and Moonspell. Now this is an EP but these songs aren't short Circles the thundering opener is 10 minutes of slow, deliberate heaviness that gets the ball rolling on this EP, next Isolation is shorter and more melodic as Lunacy's Crescendo adds a dose of the progressive as the shifting between heaviness and melody. Oobe closes out the record with more classic doom/death bluster. Delirium Of Madness is an entry point for anyone who hasn't heard what Echoes Of Decay do. 7/10

ORRA (ΩЯRΑ) - Unbounded (Self Released)

ΩЯRΑ (ORRA) are a prog metal band from Athens and they like Queensryche, they really like Queensryche, vocalist Vasilis Axiotis is trying hard to emulate the singing style of Geoff Tate. Now I suppose this was deliberate as the band is actually Peter V. Pierrakeas (guitars/keyboards) and Minornoiser (bass) with the vocalist and drummer William V. Baldo are credited as additional musicians. The unfortunate thing is that this record is that it's not actually that great, musically there is a vein of prog metal bands such as Queensryche, Fates Warning and Shadow Gallery but it's a record that struggles to really grab my attention. Even at just 6 songs I found it wandering a little as tracks such as Redemption droned a little. A shame as it's got a lot of potential. 5/10

Reviews: Undeath, Bodysnatcher, Incite, Axel Rudi Pell (Reviews By Matt Cook & Matt Bladen)

Undeath – It’s Time…To Rise From The Grave (Prosthetic Records) [Matt Cook]

If you’ve ever found yourself partaking in a night of debauchery at your local cemetery and needed a soundtrack to accompany you, well, here it is (and you might also want to talk to someone about that).
Undeath – the New-York based death metallers who burst on the scene thanks to 2020’s Lesions Of A Different Kind – are back and grimier than ever. It’s Time…To Rise From The Grave is archaic in its vocal production, gnarly in its instrumentation and another notch in the five-piece’s blood-stained belt. 

Before long, it’ll have you moshing over the corpses of strangers buried decades ago. There is no shortage of galloping, dashing riffs (Rise From The Grave, especially) or headbanging-inducing madness (Fiend For Corpses, Funeral Within). Frontman Alexander Jones (luckily not that one) is measured in his approach of OSDM. It hardly sounds phony or artificial. There is purpose and meaning in his attack, and with the help of Matt Browning mercilessly thrashing his drum set, it makes for a rollicking good time. Additionally, the dual threat of axemen Kyle Beam and Jared Welch offer pristine chug on Necrobionics and hellacious soloing on opener Fiend For Corpses. 

It’s reassuring that in 2022, Death Metal isn’t overly produced or transforming into some modern garbage that fans of the 90s’ scene would scoff at. And Undeath is becoming a forerunner in that respect. At times brooding and menacing but also weighty and dense, It’s Time… should please fans of the genre. It’s challenging not to get overly excited about what the future holds for Undeath. Merely two full-lengths into their career, these guys clearly possess the attitude, the finesse and the filth required to lead the charge in keeping Death Metal sounding primitive and petrifying.
8/10

Bodysnatcher – Bleed-Abide (MNRK Heavy] [Matt Cook]

Named in reference to Ed Gein, Bodysnatcher built their third album with aggressive one-liners, plenty of breakdowns and extremely exceptional Hardcore vocals. Bleed-Abide proves the Floridian four piece are here to stay, and have every right to grace the scene with their fiery brand of Deathcore. Vocalist Kyle Medina is not afraid to voice his anger and hatred, with lyrics such as ‘I don’t need your fucking help’ (Abide), ‘Complain a little more, you selfish bitch’ (Value Through Suffering) and ‘I’m scared I don’t have a soul’ (Wired For Destruction). 

There is a brooding breakdown which ends Absolved Of The Strings And Stone and thankfully, we also get a pig squeal on Flatline. But I couldn’t shake the fact that Medina’s Hardcore delivery (in the same vein as The Ghost Inside) is as raw as it is polished, angry as it is pleasing. Bodysnatcher presents a magnificent combination of Death Metal and Hardcore, but with an emphasis on the latter that isn’t always apparent within the genre. Also, funnily enough, three-fourths of the band is named Kyle (sorry, Chris Whited). The album closes with The Question. Aptly, it commences with a breakdown and builds up to a crushing composition. The guitars pound and reverberate, and the drums sizzle and scream. 

Appropriately, Medina chooses to sign off with an extended, yelled-word, emotional section that further solidifies his imposing presence. Bleed-Abide is instantly a listenable compilation of 13 songs. It’s such an easy playthrough that never seems to become stale or like it’s white noise in the background. It commands your attention from front to back. It punishes you for listening yet awards you for sticking around. 8/10

Incite - Wake Up Dead (Atomic Fire) [Matt Bladen]

When any band features a Cavalera in it expect violence. Incite are no different, and on Wake Up Dead (does MegaDave know it's called this?), Richie Cavalera stepson of Soulfly/Sepultura frontman Max, is supporting that family name well with Incite, when it comes to bringing battering groove driven thrash. Wake Up Dead is their sixth album and comes with all the traits you'd want from any record carrying a Cavalera name. It's got blasting speedsters that are down with a crossover thrash attitude, while tracks such as War Soup bring that stomping groove of Soulfly as Max males an appearance. 

This record is split into two discs, the first full of new tracks and the second new versions of tracks from previous albums. Incite have successfully carved their own niche with their music, the traditional Cavalera sounds are there but Incite take from bands such as Machine Head and Lamb Of God too that modern thrash style cut through with groove and core touches. New guitarist Eli Santana shreds up a storm throughout but really if you're a fan of Incite from before you'll dig the nastiness of Wake Up Dead, however they don't break any new ground. 7/10

Axel Rudi Pell - Lost XXIII (Steamhammer/SPV) [Matt Bladen]

I said in my FM review a while ago that familiarity is sometimes a good thing. Axel Rudi Pell is a one of those acts that brings familiarity. He hasn't shifted his style for many years concentrating on playing guitar driven melodic rock with flashes of metal, massive ballads and six string virtuosity. He has released countless albums and compilations, creating a loyal fan base and name recognition as well. 

Even if you didn't know the style you'd know the name just due to how prolific he is as a performer. Lost XXIII is actually his 21st studio album (sorry Roman Numeral fans) and features all of the things that have been present on ARP's solo career, there's NWOBHM on Follow The Beast, bar room rock on Down On The Street, and big epics such as the Maidenesque Gone With The Wind all having that typical ARP slickness. Again Pell's band consists of bassist Volker Krawczak, keyboardist Ferdy Doernberg, drummer Bobby Rondinelli and singer Johnny Gioeli, they are all at the top of their games musically delivering the melodic rock with passion and power. 

If you were to show someone what ARP have been doing all these years, like with any of his records, Lost XXIII provides a blueprint. Not necessarily interchangeable but just consistent. The record finishes with the 8 minute title track satisfying that ARP and his crew are still going strong. 7/10

Reviews: Alunah, Treat, Black Swan, Ophelia's Eye (Reviews By Matt Bladen)

Alunah - Strange Machine (Heavy Psych Sounds)

Crash landing again from their home planet of Birmingham, of course the central point of the Black Sabbath universe, it would be remiss of Alunah if they didn't worship their elders through massive riffs and spectral vocals. Strange Machine is pulled towards the that Black (Sabbath) hole but takes it's own flights of fancy that include touches of Hawkwind and more bands that swirl around in the psychedelic realms. Despite being the second studio album with singer Siân Greenaway and the first with guitarist Matt Noble, Strange Machine is actually the bands sixth studio album, the pounding grooves still delivered by bassist Dan Burchmore (who has been in the band for 10 years nearly) and founding member Jake Mason on drums. 

If Violet Hour was a rebirth of some kind, introducing the second phase of the band, then Strange Machine is their chance to boldly go into realms as yet unexplored, Fade Into Fantasy for example adds the hallucinogenic, psychedelia of Rosalie Cunningham, Gong and Syd-era Pink Floyd, the waves of organs crashing in towards the end of that, climbing guitar lead, though Psychedelic Expressway is given the spirit of Woodstock and the West Coast sound during the 60's. Strange Machine was produced by Chris Fielding at Foel Studios and as with anything he touches, the heaviness on tracks such as the riffy Broken Stone and Dead Woman Walking, which features Crowbar guitarist Shane Wesley, is hefty as possible but also gives a great fidelity of sound for the clean guitars, organs, theremin and of course those excellent vocals to impress as well. 

Strange Machine is Alunah spreading their wings and taking off into the next phase of their journey as a band, with the elements they've added here it's sure to be a long strange trip from here. 9/10       

Treat - The Endgame (Frontiers Music Srl)

Swedes Treat are legends in the Scandi AOR/melodic rock scene, despite this The Endgame is only their ninth studio album. However after eight albums and the return of bassist Nalle Påhlsson to the band along with vocalist Robert Ernlund, guitarist Anders ”Gary” Wikström, drummer Jamie Borger, and keyboardist Patrick Appelgren, Treat are cranking out those AOR anthems they do oh so well. Part Def Leppard (My Parade), part Bon Jovi (Magic) and a massive influence on the incredibly healthy and vibrant Scandinavian AOR scene, Treat re-establish these credentials with the clever lyrics on Freudian Slip or the shimmering Rabbit Hole which is about as 80's as a White Lamborghini with the top down as the sun sets over the yachts on the bay. 

Producer Peter Mansson brings out the sonic best in these tracks with his clean cut production boosting the bouncing rhythms, huge synth lines and the soaring vocals. The band say they want to make every album better than the last one and with The Endgame, they have managed to bring together a collection of upbeat, positive album that flies in the face of our current pessimistic world. A record that is designed as an escape filled with driving 80's rockers, arena friendly ballads, a track about a chilli (Carolina Reaper) and also packing a song that will make sure this Swedish band will get airplay at every baseball event this summer in Home Of The Brave. (Neal Schon will be kicking himself). There are American original bands that don't do AOR as good as this, well worth investing some time in. 8/10    

Black Swan - Generation Mind (Frontiers Music Srl)

Generation Mind is the second record from 'supergroup' Black Swan. It features singer Robin McAuley (McAuley Schenker Group), guitarist Reb Beach (Winger, Whitesnake), bassist Jeff Pilson (Foreigner, The End Machine, ex-Dokken), and drummer Matt Starr (Ace Frehley, Mr. Big). With such big names in the melodic rock circles attached you can appreciate that it will be a slick melodic rock effort with great songwriting and playing, McAuley, Pilson and Beach wrote all the songs for this sophomore record and they have upped the ante again on Generation Mind. 

From the bluesier edge to ballad How Do You Feel, to the guitar fueled Long Way Down there's hints of all of the members previous bands but Black Swan are much more than that, creating their own sound on the debut that has been refined on this second record. What is really impressive on this album is McAuley's vocals which are far superior now at the age of 69 than they were in his prime, on Wicked The Day he shows of those powerful/soulful tonsils to the full against Beach's choppy, solo filled guitar playing and that driving rhythm of Pilson and Starr, you can see why his drumming is in demand.

Generation Mind never moves too far from being a four established musicians showing off their chops but these chops are enough to keep you listening. 6/10

Ophelia's Eye - Hopeless World (Self Released)

According to the press for this record Ophelia's World take their cues from bands such as Killswitch Engage, In Flames, Lamb Of God and As I Lay Dying, though I wouldn't really advertise that last one too much lest their partners get a little worried. However that comparison aside, you can hear all of these influences on their new EP Hopeless World. Brutality is merged with melody from galloping "Maiden goes death" of My Honor to the bruising Fuck My Trust all the way through to thrashy I'm Explosive and the final battery of the melo-death 101 that is Pain And Sorrow. Having only been around for about 2 years, Hopeless World is supremely slick, melo-death with some metalcore and groove styles too, it's a very technical release that brings breakdowns, lead guitar flourishes.

But for me the one dimensional vocals and the fact that though there is claim that they are re-defining the genre with the heavy music they write, what they are doing is jumping into the furrow dug by In Flames, Killswitch Engage and most tellingly Trivium, then going about trying to emulate them. Consisting of Michel Egloff-Sieber (Vocals), Remo Lemp (Lead Guitar), Corinne Ryter (Rhythm Guitar), Stefan Bijkerk (Drums), and Sandro Suter (Bass), there's bags of potential here and they'll be pushed as the 'next big thing' I'm sure but for me if this Swiss band want to become that they will need to add a bit more nuance to the rest of their music as they do on the title track. 6/10

Reviews: Destruction, Atoll, The Troops Of Doom, Et Moriemur (Matt Bladen & Matt Cook)

Destruction - Diabolical (Napalm Records) [Matt Bladen]

40 years! 40 years German thrash metal machine Destruction, still led by vocalist/bassist Schmier, have been laying waste to all around them as part of the German 'Big Four' along with Kreator, Sodom and Tankard. Over the course of these 40 years and 15 albums there have been numerous members joining the band founder but the current line up consists of drummer Randy Black (joined 2018), lead guitarist
Damir Eskic (joined 2019) and rhythm guitarist Martin Furia who joined in 2021. So Destruction are a lean, mean fourpiece, still playing like they have something to prove with the vicious style of thrash, The Last Of A Dying Breed and State Of Apathy exploding with furious riffs and those familiar Schmier snarl/wail vocals. 

The Teutonic thrash scene has always been a much more aggressive than the American thrash scene and Destruction seem to still have that brute force of their early records on Diabolical, from the classic metal gallops on The Lonely Wolf  to the blasting No Faith In Humanity, the dive bombing Ghost From The Past and the closing cover of City Baby Attacked By Rats originally by GBH all show different sides to the out and out aggression of Destruction where they bring classic metal and also punk well, much like they have done throughout their 40 years. Uncompromising thrash that won't yield to any attitudes or popularity contests. 40 years and still pulverising, this is Destruction. 7/10

Atoll – Prepuce (Unique Leader Records)  [Matt Cook]

It would be easy to write off a band that pens songs with titles such as Cirrhosis For Dinner, Knifed In The Butt and Molotov Cock Tease. It would also be a disservice, because Atoll aren’t your run-of-the-mill, jokey brutal death metal band. Yes, their new album Prepuce includes various sound clips from the likes of Family Guy and Dave Chapelle (not to mention the title of the release is the technical term for the foreskin), however the instruments throughout the six-track EP are much more polished for this style of music. 

Hitchhiker is a showcase of Andy Luffey’s penchant for downright breakneck drumming, and Knifed In The Butt sees him utilizing a more active, tumbling technique. As for vocalist Wade Taylor, his rhythmic grunting on The Circumcisor comfortably and effectively complements the accompanying instrumentations. There are even hints of breakdowns on Molotov Cock Tease. If you are able to get passed the humorous aspect of Atoll, Prepuce rewards you with a slamming rendition of metal that is sure to leave blood and gore in its wake – aside from any other unidentified bodily fluids. 8/10

The Troops Of Doom – Antichrist Reborn (Alma Mater Records) [Matt Cook]

The Troops Of Doom came out swinging for the fences with their debut full-length, Antichrist Reborn, a death-doom thrill ride dripping in Satanic overtone and backed by a bevy of talented musicians and a supporting cast. Wasting no time, Dethroned Messiah is adrenaline metal at its finest – a thrashy combination of guitar and drums, a groovy line and wretched, haunting vocals. The illustrious Swedish producer Peter Tägtgren (Hypocrisy/Pain) knows a thing or two about old-school metal, and it’s firmly on display. At first glance, the Brazilian foursome is clearly up to the task of breaking into the scene and challenging mainstay acts. 

Former Sepultura guitarist Jairo Guedz, bassist/vocalist Alex Kafer (Enterro, Explicit Hate, Necromancer), drummer Alexandre Oliveira (Southern Blacklist, Raising Conviction) and guitarist Marcelo Vasco (Patria, Mysteriis) comprise quite the supergroup. Not to mention Vasco is also an artist who has created works for the likes of Slayer, Kreator, Machine head, Soulfly and Hatebreed. Vasco also busts out simply excellent riffing (The Rebellion, Preacher’s Paradox) as well as a sturdy melody (Far From Your God). Fans of old-school, no-strings-attached death metal will find much to bang their heads to. 

Antichrist Reborn at its core is one of those releases you can shuffle and be guaranteed to find hard-hitting music every step of the way, a perfect backdrop for mundane chores such as doing the dishes or cleaning up the litter box while at the same time keeping true to the roots of metal. 8/10

Et Moriemur - Tamashii No Yama (Transcending Obscurity Records) [Matt Bladen]

Et Moriemur are Czech doom metal band who love to explore the mythos of other countries. Their last record Epigrammata was taken from Greek history and mythology, this one comes from Japanese folklore and history. It also bookended by some beautiful piano playing from vocalist Zdeněk Nevělík coming on the stirring instrumental opening track Haneda and the end of 14 minute epic Takamagahara, linking the start and finish of this record together. 

Haneda also features acoustic guitars from Honza Kapák, Shakuhachi (and ancient bow instrument) from Marek Matvija along with strings that come Zuzana Králová (violin), Andrea Michálková (cello) and Zdeněk Janeček (viola), it skillfully moves into Sagami which brings in the distorted, downtuned riffs of Aleš Vilingr and Honza Tlačil as Zdeněk growls over the top, the piano slowly moves away on Oshima where we are brought into symphonic/atmospheric doom sound that Et Moriemur have always been associated with. But they are more than that taking from death and black metal to make a musical menagerie that reminds me of Rotting Christ, My Dying Bride and Septicflesh, the massive riffs highlighted by the more experimental elements of their music for an album that is cinematic in scope but also build on some extreme metal power. 

The sequencing of the record is so good, I actually took a few inputs of breath as one song shifted seamlessly into the other, the music undulating and adapting, the traditional instruments highlighted earlier running rampant on Izu and Nagoya the latter showcasing the chugging rhythms of bassist Karel “Kabrio” Kovářík and the latter the mechanical drumming of Michal “Datel” Rak as the doom heaviness gives way to yet more planative piano and acoustic guitars, before the frantic death metal battery comes on Otsuki slowing into swelling strings, piano to culminate on the fantastic Takamagahara a track that evolves into the most evocative song on the whole record. I hadn't heard of Et Moriemur before this but the way they have linked Japanese cultural efforts with atmospheric doom metal has impressed the hell out of me, so I'll have to go back and check out any previous albums they have. Tamashii No Yama is a superior example of atmospheric doom that you need to hear. 9/10

A View From The Back Of The Room: I Am Morbid, Belphegor, Hate & Skaphos (Live Review By Matt Bladen)

I Am Morbid, Belphegor, Hate & Skaphos @ Rebellion Manchester 09.04.22

It's a funny thing this touring lark innit? As Bruce Dickinson displayed so proudly on a t-shirt "Some days you're the pigeon, some days you're the statue". At the Rebellion it was South Wales Blackened Metal horde Agrona that were the statue. Now I must make the caveat that this wasn't anything to do with the Rebellion venue, the promoter of this Manchester show or any of the other bands on the tour. No it was due to logistical issues from the night before, the tour bus had nowhere to charge so it was stranded until the afternoon. This pushed the arrival time in Manchester back, the sound checks back and resulted in Agrona's set being cut. It's inconceivable to me that if you know a touring package has a nightliner bus, then as a promotor you should probably know beforehand that providing adequate power for the bus is the sort of thing that's a common part of touring contract. Thankfully Nytys Promotions (the Manchester promoter) had supplied all the power they need. 

We realised that Agrona would not be playing after myself and my compatriot had made our way to Manchester and were waiting in the queue after scarfing some tacos. As gutted as we were, though not as much as the band, we had already decided on the Manchester show rather than the Cardiff one before Agrona were even added to the bill. The chance to see three top tier extreme metal veterans on one bill in a great venue such as the Rebellion on a Saturday was too good to pass up so with Mr Burnell on wheelman duty to make sure we caught everyone.

As I said the bad news came through while we were queuing meaning the whole night was pushed forward so as we entered the venue Skaphos (8) were already deep into their 30 minute set, many thinking they had been sound checking , but from the final three songs you can hear that this French four piece are a force to be reckoned with, playing vicious, black metal to get the arriving throng in the mood.

A change over, a drink and a toilet break meant it was time for the Polish bulldozer that is Hate (9), they set out their table early with bludgeoning riffs and growls from the onset of their set and the destructive pace never eased off. A mesmerising blend of aggression and power, Hate were in fine fettle, attempting to destroy the crowd as all three of the main bands seemed to have a competitive edge to them, each trying to out do the other with the performance and the staging. Little crowd interaction meant that they were packing in the explosive songs, building the set as a violent display of power. Hate played as if this was a headline show, even doing the off stage/on stage move reserved for encores during a backing tape interlude. This was a ballsy move as a lot of the crowd started to disperse before they came back on for two more songs.

No such antics from Belphegor (9) who were genuinely aiming for the top billing bringing their entire stage setup, candles, incense and inverted crosses galore, while they plunged the depths of their expansive back catalogue for satanic heathen black metal. They are a slick, well rehearsed unit that unleash a full force black metal assault that has more than a hint of the theatrical due to the staging, the samples played as intros and interludes, as Helmuth Lehner leads the unholy choir with his dark satanic sermons, he and Martin "Molokh" Arzberger trade tremolo riffs and solos throughout as well as bassist Serpenth and current drummer James Stewart of Vader unleash unholy hell. The posturing and pageantry was all part of the deal as Belphegor were the closest to 'trve' black metal on the bill using all their stylistic elements and their excellent performance to gain the biggest crowd and pit of the night.

After a monumental changeover, (long enough to put another band on in fact) it was time for I Am Morbid (9) a band featuring two of the 'classic' Morbid Angel line up currently. Fronted by the death metal cowboy himself David Vincent, this touring line up also has Pete Sandoval behind the kit as the two Morbid Angel members are flanked by guitarists Bill Hudson (NorthTale, Doro) and Kelly McLauchlin (Pessimist). As you can appreciate the setlist was drawn from the first four Morbid Angel records. albums Altars Of Madness (1989), Blessed Are The Sick (1991), Covenant (1993) and Domination (1995). Seeing as this tour coincided with the 30th Anniversary of Blessed Are The Sick, a glut was taken from that record but all of the songs were met as if they were old friends. Even more so when they blasted out Dead Shall Rise from the Terrorizer grindcore project featuring Vincent and Sandoval.

Coming out of the gate this was no nonsense, genre defining death metal from two members of one of the most influential bands of all time. Commando Sandoval is a monster behind the kit, the equivalent of an artillery barrage, he ravages these songs making everyone else keep up. Hudson and McLaughlin shred as if their lives were on the line, dive bombing and double tapping throughout Maze Of Torment as Vincent keeps the rhythm fat and frighteningly fast barking out his messages of anti-religion, Satanism and occultism with that guttural delivery still spot on. Their set flew by packing 16 songs into a tight hour of death metal mastery, they are Morbid indeed.

A stunning tour package that featured three headline level bands all vying to be the most impressive on the night. Well worth the 3 hour journey to get here. Though a shame about the Welsh horde being unable to play.

A View From The Back Of The Room: The Infernal Sea, Crimson Sea & Wolvencrown (Live Review By Charlie Rogers)

The Infernal Sea, Crimson Throne, Wolvencrown @ Record Junkee, Sheffield, 7/4/22

Rarely do I head out for a purely black metal lineup, but given I was visiting Steel City for work it seemed like the right thing to do to was check out a gig while I was there. Record Junkee is a cool little space above an instrument shop; by day it sells records, but by night it transforms into a 150 cap DIY venue. With a small stage at one end, and a tidy little bar at the other, it’s a testament to how you can put gigs on with a bit of space and will power.

Wolvencrown (6) opened the night up, playing melancholy atmospheric black metal for the most part. With long, drawn out passages painting a sombre soundscape, much of the band’s focus seems to be aimed at sounding bleak. A few sprinklings of groove break up the chords, and for me that’s when the band came to life. I’m not one for atmospheric black usually, so it’s likely just my own taste getting in the way there as the crowd appeared to enjoy what was offered up. 

My personal highlight was noticing the gradient of intensity on the band member’s faces - from the crazy eyed lead guitarist sporting an Immortal vest and an impressive ‘tasche glaring out into the crowd, through the just about moving frontman, to the look of utter vacancy on the bassist. The keyboard player was unfortunately tucked away behind the PA, but that added to my amusement just being able to see his one hand - allowing me to imagine it was Thing from the Addams Family completing the lineup.

Crimson Throne (8) played next, with half the members and somehow double the volume of the band before them. Samples triggered by the guitarist were almost deafening, roaring over the snarling bass tone and thunderous drumming. The songs had a lot more going on, with buckets of groove and frantic riffing going hand in hand. I was a lot more engaged with this style, even though their stage set up was a little unorthodox - the band members largely facing each other rather than the audience.

Over the course of the night, each act had its own colour theme - Wolvencrown bathed in blue, Crimson Throne understandably drenched in red. Headliners The Infernal Sea (9) graced the stage with an ominous green emanating from their props. With the smoke machine billowing out a hefty fog, the band launched into their set. Much more upbeat than even Crimson Throne before them, The Infernal Sea had a ton of energy right off the bat, inspiring many of the crowd to jump around in time with their riffs. 

Using a great use of both straight blasts and d-beats, it was near impossible to avoid moving in time with the band. The songs had a little more variation in both pace and tone than the previous groups, but thematically it all fit and tied the night together. They had a commanding stage presence, and played to the crowd expertly. I really enjoyed their set, especially as their grooves and riffs have broad appeal - this isn’t some hidden true kvlt band who can’t seem to make anything that doesn’t sound like bees in tinfoil, but a group that can write catchy hooks and infectious grooves.

Reviews: Envy Of None, Evil Invaders, Hällas, Cobra Spell (Reviews By Matt Bladen)

Envy Of None - Envy Of None (Kscope Records)

"The new band of  Alex Lifeson" yeah, ok that was enough, just those first few words of the accompanying press release that came with this debut record was enough to make me want to listen to it. I'm a huge Rush fan (not as big as one of my friends and former colleagues of course!) but any band that features a founding member of the Canadian prog rock legends will gain my attention. Even more so when I press play and I'm drawn into a dark, dramatic world of shimmering alt-rock and art-prog that is more like Steven Wilson, Pure Reason Revolution, adding the electronics of Depeche Mode/Saint Etienne, as well as the more eclectic offerings of acts such as Bjork, Kate Bush with a massive helping of Eric Serra and Peter Gabriel.

Lifeson teamed up with fellow guitarist/producer/engineer Alfio Annibalini, bassist Coney Hatch and singer Maiah Wynne who became a muse for Lifeson in the creation of this album. Her vocals are ethereal, dreamlike and gorgeous so it's no surprise how taken Alex Lifeson was with it. Every time she opens her mouth you can feel the emotion pour out. As the atmospheric soundscapes on this record unfold you are drawn into to Envy Of None's, sinister, enigmatic, begiulling musical world. With the talent involved, Envy Of None was always going to be good, but great Geddy Lee, it's fantastic. Exactly the style of music that I love to listen to when I'm not being bombarded by blast beats.  

The dreamlike beauty of last song, Western Sunset, is the only one that doesn't have throbbing electronics and processed beats, just a reverbed guitar from Lifeson who pays tribute to his fallen comrade Neil Peart with this emotive final moment. However the rest of the album is just as impressive, Never Said I Love You a punching art rocker, Shadow more evocative and haunting as is Look Inside which bubbles in dream pop wonderment. All of the members of this band are multi-instrumentalists so there's a density to these songs that is hard to ignore. Even though it bears no resemblance to any Rush records, that Lifeson flourish can be heard on the solo of Spy House. 

To review this album I listened to it about 8 times, and I'll listen to is countless times in future I'm sure. The competition at the top of my AOTY list is getting very tough. 10/10

Evil Invaders - Shattering Reflection (Napalm Records)

Belgium metal foursome Evil Invaders bring back their trademark savagery on their third album Shattering Reflection, while also adding some new elements to their established sound. It's a record that sees Evil Invaders more focussed than ever streamlining and augmenting their musical output to make it the most impressive it has ever been. Shattered Reflection is a wild ride mixing the outright ragers of their last two records with some slower more deliberate efforts, that are crafted to punctuate the violence. 

The opening duo of Hissing In Crescendo and Die For Me are exactly what older fans will want, both tracks grab you by the shoulders and will have you pitting in your living room, the biting guitars of Joe and Max sounding like early Slayer records as Joe's vocals are conjured from the Mercyful Fate spell book. These King Diamondisms come through on the more Gothic sounding Forgotten Memories and The Circle. Sledgehammer Justice too is a thrashtastic offering all blistering riffs, galloping baselines and drumming that hammers your ear drums as is races towards the solo section. 

However on tracks such as In Deepest Black they display their more melodic side, as Eternal Darkness is a chugging, proggy number that has bassist Joeri and drummer Senne, switching the pace a few times for this progressive track as Aeon soars with tons of excellent guitar playing again adding those melodic touches that balance out the extreme assault of Evil Invaders' traditional style. Shattering Reflection is Evil Invaders evolving into the band they have been threatening to be for a long time. Play loud. Mosh hard. 8/10

Hällas - Isle Of Wisdom (Napalm Records)

So called 'adventure rock' band Hällas, come back with their latest exploration into the world of proto-metal, krautrock and psychedelic quirkiness, plugging their Hammond organs and back in for their third album Isle Of Wisdom, yet again focusing on yet more stories of the knight namesake, who will be again plunged into drama by the lyrics of these Swedish proggers. 

Hällas are a band that take influence from acts such as Camel, Jethro Tull and Caravan, the last song The Wind Carries The World brings out these Canterbury vibes perfectly, shifting from driving rock, galloping proto-metal, to jazz and even chamber music all wrapped up in one impressive finale. They recorded the album at Riksmixningsverket Studio, where ABBA famously recorded and were allowed to use their synths on this album. 

It means that Isles Of Wisdom is a synth heavy record, so for synth lovers like me, it's a great listen as the retro keys and electronics hark back to the more folksy sounds of the 70's prog/Canterbury scene. The Medieval concept works well on tracks such as The Inner Chamber which reminds me of Tudor court music building the synths on top of one another for a dynamic track where Nicklas Malmqvist's organs are met by the keening twin guitars of Alexander Moraitis and Marcus Petersson. Hällas build their songs brilliantly, crafting them to be direct but also full of technique and melody. 

Tommy Alexandersson's bass is the cornerstone of the 8 songs here, his voice too is soulful, recounting the tales of Hällas the knight with a touch of both Ian's (Anderson & Hunter), the drumming of Kasper Eriksson is wide and spacious on Gallivants (Of Space) but can also get the force that drives rockers like Advent Of Dawn. A thrilling story, technical but melodic music all played with a keen ear for the retro. Join in the Hällas quest, you won't regret it. 8/10   

Cobra Spell – Anthems Of The Night (Self Released) 

Anthems Of The Night is the second EP from Trad/speed metal band Cobra Spell, formed by Sonia Anubis of (ex-Crypta, ex-Burning Witches) the band is neck deep in 80’s sleaze and debauchery, delivering music that owes as much to Dokken as it does King Diamond. From the twin axe attack of Anubis and Esmée Van Sinderen, to the powerful rhythm section of Angelina Vehera (bass) and Léonard Cakolli (drums), rounded off with the histrionic vocal screams of Alexx Panza. 

Anthems Of The Night, and it’s opening salvo Addicted To The Night especially don’t break any new ground, re-treading those stepping stones set out by the NWOBHM and the glam metal scene forty odd years ago, but it’s entertaining nonetheless. Addicted To The Night has big chorus and those NWOBHM gallops while The Midnight Hour is dirtier with touches of Ratt and Poison in its bluesy riff, Steal My Heart Away keeps the radio rocking going as the final song Accelerate brings back that speed metal vibe.  

If you love music that is definitely stuck in the 80’s then I’d say to try Cobra Spell, however there are lot bands doing this, better. 6/10

Reviews: Misfire, The Hellacopters, Mors Principum Est, Angel Nation (Reviews By Simon Black, Richard Oliver, David Karpel & Matt Cook)

Misfire - Sympathy For The Ignorant (MNRK Heavy) [Simon Black]

I spend many column inches on here and elsewhere waxing about the golden age of thrash in the 80’s. Most of that reiterates the point that there’s a sliding scale for bands of a certain age, where it seemed an impossible feat to pull off recordings that delivered energy and enthusiasm and decent production values at the same time. They would start with the former, with low budget hastily recorded and cheaply engineered belters, containing great songs but sounded poor production wise. As time and success came, so did more time and production values, but along the way the zeitgeist enabled by urgency of speed got lost. Then it all went out of fashion for a couple of decades, but 80’s influenced Thrash is back in a big way as part of the overall nostalgia fest currently surrounding the whole period.

So now I find myself listening to an act that has got the balance right on their debut. To be fair it’s technically a lot easier in the modern age, what with almost everyone having access to decent kit, software and the luxury of home working to polish things a bit. Even so, bands sometimes miss the point and waste time trying to recreate crap analogue hardware sounds, rather than realising that it was the energy driven by urgency that was the vital piece of the jigsaw. Not so Misfire, who have absolutely built that energetic pace of working into their recording processes, whilst simultaneously bringing the polish and mix-mastering techniques of the modern world.

Musically this is straight out of 80’s heyday thrash, with plenty that anyone who grew up on a diet of Slayer, Sodom and Death Angel in particular is going to appreciate. From the ponderous opening bars of Fractured, this Chicago-based three piece set a weight and gravitas of a much more experienced act. It’s heavy as a brontosaurus, but notches up the pace within a minute to turn into a brutal assault of technically blistering riffage.

The first thing that grabs me is the sheer technical talent behind this band, and delivered whilst remaining thoroughly accessible. Splitting vocal duties between guitarist Jay Johnson and bassist Sean Coogan, vocally they’re both flying at full pelt that sets an unforgivable momentum and pace, and the fact that their also playing all the blisteringly shredded guitar parts and technically insane bass parts as well is highly impressive. Not that the drum section of the band (James Nicademus) is any less technically accomplished, producing a pile-driving rhythm and brutality. It’s fantastic stuff, with arrangements as tight as the playing and not an ounce of padding, with fantastic production values – all the more noteworthy as these have also been engineered by Coogan. This is how Thrash should be done. Blistering, unforgiving, honest and energetic as fuck and I am really curious to see how they pull it off live. 9/10

The Hellacopters - Eyes Of Oblivion (Nuclear Blast) [David Karpel]

This album kicks ass. New sounds from The Hellacopters call for clear descriptors and room to dance. Gather your crew, clear some space, pour shots, and shoot’em down your gullets. Now turn this on and turn it up. This is a party. You won’t be able to sit down, none of you. You won’t want to. You will dance like nobody’s watching (BTW, nobody’s watching). You will. I promise. Watch. And listen, of course. Even if you don’t usually dance, YOU WILL DANCE.

You might think fourteen years between albums is a long time, especially when the last one was supposed to be the last one. And it is a long time. But here’s the thing, The Hellacopters don’t merely pick up from where they left off. See here, reader, this band has never sounded better. Nicke Andersson’s vocals have taken on a suddenly essential rugged quality that recalls the rugged vocals of Dan McCafferty of Nazareth and some of the smokier Axl Rose. The tunes are catchy, melodic, high energy rockers that capture a band super confident in the power of their sweat-inducing riffage.

Reap A Hurricane strums open with feedback before the drums surge. Commanding all of your muscle groups to move, the energy is high, the chorus is infectiously catchy, and Nike Andersson reminds you what it means to sing your heart out. Meanwhile, the keys keep us rooted in rock and roll hooks and glory. Can It Wait gifts us with hearty harmonies, tambourines, another memorable chorus, and all in two minutes of yearning needs. Punchdrunk barroom blues swing with such heart in So Sorry I Could Die you can’t help but utterly believe it to be true. The title track follows with a hook-laden guitar lead that blossoms into a rocker showing the band once again fully realized with thunderous bottoms, keys lifting the melodies, and harmonies through the chorus that you’ll be singing long after the song is done.

While it goes quick, there isn’t a weak spot on the album. A Plow And A Doctor is a romp through a wicked trip, while Positively Not Knowing is an uptempo ripper in which the keys warmly undergird the choruses and solos. Tin Foil Soldiers gives a nod to the Bay City Rollers, while Beguiled recalls the gruffer punk of Husker Du. The Pressure’s On reminds us “we’re all gonna die” so that “from the cradle to the grave, the pressure’s on” and this seems to encapsulate the record as a whole, the feeling exuded throughout these songs. There’s a sense of undeniable urgency and confidence here. 

Try Me Tonight closes this album on the perfect upbeat, sleazy hip shaker that recalls the famed Sunset Strip when it hosted bands like L.A. Guns and Faster Pussycat in the 80s. While clocking in at only around a half hour, Eyes Of Oblivion captures something special, a raw, live sound, a revival and perhaps a rebirth – a band coming together like a full heart ready to burst. 10/10

Mors Principium Est - Liberate The Unborn Inhumanity (AFM Records) [Richard Oliver]

Mors Principium Est are a melodic death metal band from Finland who formed in 1999 and have several excellent albums to their name. Previous album Seven released in 2020 was a duo effort between vocalist and original member Ville Viljanen and multi-instrumentalist Andy Gillion but after the two had a very public falling out and Andy was removed from the band, many wondered what the future held for Mors Principium Est. Long term fans of the band can be happy and rejoice in the fact that not only is the band a full unit once again but several former and some original members of the band have rejoined including guitarists Jarkko Kokko and Jori Haukio and bassist Teemu Heinola. The only fresh blood in this new era of Mors Principium Est is drummer Marko Tommila who makes his debut with the band here. 

To commemorate the return of so many original members of the band, Mors Principium Est have released an album of re-recordings with material drawn from their first three albums Inhumanity, The Unborn and Liberation/Termination with the title of this album of re-recordings drawing from the three original album titles Liberate The Unborn Inhumanity. I am very fond of these early Mors Principium Est albums so there was a certain amount of trepidation approaching these re-recordings but the material is very much done justice. There are a few tweaks here and there and the material is afforded a much improved production and mix than the originals were afforded. These old songs are very much given a new lease of life with songs such as Cleansing Rain, The Unborn, Finality, Pure and Life In Black sounding absolutely fantastic. 

For the real hardcore fan there is even re-recordings of material from the bands 2001 demo with Valley Of Sacrifice Part 1 and Part 2 given a 2022 overhaul and being the definite highlights on the album. Whilst re-recordings can be a contentious issue with a bands fandom this album does the material justice and seeks to be slightly enhanced versions of these songs rather than replacements for the originals. If you really despise the idea of a re-recording then the original albums are still there for you to enjoy. If you have never heard Mors Principium Est and their fantastic take on Finnish melodic death metal then this album is an excellent introduction to the band with material drawn from what I see to be the band's best albums. 8/10

Angel Nation – Antares (Inner Wound Recordings) [Matt Cook]

Elina Siirala belongs in the Symphonic Metal scene. The Finnish soprano has a bachelor’s degree in classical singing and has also studied contemporary vocals. She’s been fronting Leaves’ Eyes since 2016 and is also the founding member of Angel Nation (in addition to the keyboardist).
In other words, this isn’t her first rodeo. And with a voice like hers, it only makes sense to be involved with multiple bands. 

Antares, the follow-up to 2017’s Aeon is yet another showcase of symphonic beauty and grace. And it’s not only a demonstration of Siirala’s talent. George Stergiou has composed first-rate riffs to complement the vocals, while bassist Julia B. Cadau effectively hums in the background to help provide a clean and impressive atmosphere. And though all four members have joined at different times throughout the band’s run (Drummer Lucas Williamson rounds out the group), every musician has had at least one gig prior to coming on board. Antares begins with a galloping riff and a shredded solo (Seraph) and is followed up by We Are Fire, giving credence to Siirala’s capability of nailing those high notes. 

But as artistic as the four piece is, it’s difficult for the album to keep my attention. Out Of Sight, Out Of Mind seems to incorporate Viking-themed lyrics (in the same vein as Leaves’ Eyes) and End Of Innocence is tinged with balladic vibes. Though there isn’t a whole lot to latch onto in the way of hooks or memorable lines. Less “this album is low-quality” and more “I don’t feel like I can really connect with any one song.” Maybe it’s the fact the group is split between Germany and London, or the possible lack of chemistry. It’s Symphonic Metal through and through, but it doesn’t explode out of the speakers in a way that grabs hold of you and forces an immediate replay. 7/10

King Mountain - Tempest At The Gates (Grooveyard Records) [Matt Bladen]

Oh yeah. There's always a part of my brain that gets excited when I hear fat, blues riffs through a tube amp, played with in the slower stoner/proto-metal style. King Mountain play this kind of style and yes my synapses started firing and those endorphins began rushing through my body as soon as the strutting riff of Soul Sacrifice got this new record from the Athenian band going. From what I can see this is the fifth album from King Mountain and yes it's meat and potatoes, simple riff, chorus, soloing all wrapped up in a bluesy doom/stoner bow, but it's entertaining and make your head want to bang. 

King Mountain is another project from Stavros Papadopoulos who also is the creative force behind Revolution Highway and Super Vintage. Here he takes guitars and vocals, playing a more distorted style than in his other bands which lean heavily on Hendrix et al. King Mountain owes more to bands such as Spiritual Beggars, Fireball Ministry, Monster Magnet and even Karma To Burn. King Of The Mountain especially having that smoky Southern blues meeting big Sabbathian riffs. 

Stavros' vocals especially whiskey soaked here while his guitar playing is sublime throughout, the backing and are no slouches either. A tight knit unit that knock out these grooves together. You can digest all sorts of styles when you're a music fan/journalist but sometimes you just need a bit of tasty riffage to ease yourself into a good mood. Tempest At The Gates is good mood music, ideal for sunny days and good friends. 8/10

Reviews: VOLA, Nekrogoblikon, Trick Or Treat, Denali (Reviews By Matt Bladen)

VOLA - Live From The Pool (Mascot Records)

VOLA are probably one of the best bands on the planet currently, in my opinion of course. Both on record and live they really deliver. On Live From The Pool the lines between their live and recorded sound are blurred as this record is the audio part of a live stream show that has now to been released on physical format. I'll take just the audio version here but let me assure you the visual part is incredible, filmed at an abandoned indoor swimming pool which is part of the Auderød military camp in North Zealand near Copenhagen, Denmark, it was designed by architect Henning Larsen, giving the performance an air of gravitas and a mixture of the natural world and the concrete one as the site now lies in Auderød nature park.  

The entire concert was filmed by five cameras and a drone, along with a custom made light installation from Danish audio-visual artist collective Vertigo. Conceived as cinematic experience for their international audience during the pandemic, Live From The Pool is stuffed with tracks from across VOLA's entire discography, with visuals that are just out of this world. For me any setlist that puts Alien Shivers second, is perfect in my book. Though I found myself enthralled for all of the hour an 3 minute set as they shift between thundering heaviness and soaring melodies, Head Mounted Sideways having both in droves, showing why Witness was so lauded when it was released. 

Even just musically this album amazes. A lot of the set comes from this album but there is also plenty of A-List material from 2015's Inmazes and 2018's Applause Of A Distant Crowd the most evocative moment comes onf Ruby Pool where the visuals connect beautifully with the music. Masters of complex but accessible music that is built on heavy modern prog metal but goes to further reaches than many of their peers with atmospherics and soundscapes that trigger emotion, Owls being one such number full of dramatic musical shifts making a fitting middle of the set and being in stark contrast to These Black Claws which has electronica, djent and rap too while Gutter Moon has more than a hint of Nick Cave to it, displaying the versatility of VOLA as a band. 

Asger Mygind (vocals/guitar), Martin Werner (keys), Nicolai Mogensen (bass) and Adam Janzi (drums) make up VOLA and with a tour lined up later this year along with Voyager and Four Stroke Baron, I would suggest you pick up Live From The Pool to get just a hint of what to expect! 9/10

Nekrogoblikon - The Fundamental Slimes & Humours (Self Released)

Ummm...what the hell is this? Such was my cry when I first listened to Right Now, the opening number on The Fundamental Slimes & Humours, the fifth album from the self-proclaimed "Best Goblin Metal on the Planet" I mean they're probably the only Goblin band on the planet with the exception of Mortiis, but unlike the Nordic master of Gothic misery, these Goblins like to have fun, creating music that is part GWAR, part Finntroll, part Faith No More, part Heavy Devy and a lot of Andrew W.K who they borrow from liberally on the piano battering Golden Future. 

In terms of genre I'd have to say Goblin Metal as they meld the COB style of keyboard heavy melodic death metal with, the schlocky horror metal of Lordi and pumping EDM and those 'wall of sound' batterings of Mr Wilkes-Krier. They constantly seem to shift styles on this record, Nu-Metal, death metal, thrash, party rock, a shit load more but manage to keep it a consistent listening experience, a weird one but it is enjoyable if you want to listen to a band that are truly unique sounding, though Andrew W.K with black metal vocals is about the nearest I can tell you. 

Despite my initial confusion and reaction to this album The Fundamental Slimes & Humours, is a record that will tickle your various bodily liquids into having a good time. 7/10

Trick Or Treat - Creepy Symphonies (Scarlet Records)

Uriah Heep is to Deep Purple as Trick Or Treat is to Helloween. By that I mean one is seen as a pale imitation of the other, however both stand on their own merits. Yes it's time for another trip down the rabbit hole with Italian power metallers Trick Or Treat, their cheeky, upbeat style of music is a dead ringer for anything involving Kai Hansen both Helloween and Gamma Ray borrowed from liberally however they do add some of their own style to proceedings with dashes of AOR and chunky modern riffs as well. 

At their core Trick Or Treat are a Teutonic metal band, although from further South East than the Germanic originators, they have songs filled with speedy twin guitar runs, sky scraping vocals and blasting rhythms so songs such as Crazy and the title track stick in your head for a long time after listening, while the final track The Power Of Greyskull is 12 minute epic that is in the He-Man universe. With songs that have lyrical inspiration from environmental issues, cyberbullying, social media addiction and of course some good old fashioned monster movies as well, in keeping with the Trick Or Treat namesake.

 

Creepy Symphonies is a damn good listen if you want to wind up with a big smile on your face. They don't take themselves too seriously and neither should anyone listening to this album. It's. Been. Done. Is often the mantra but when it's done well? Who cares! 7/10

Denali - Denali EP (Self Released)

Based in Hertfordshire Denali are a brand new death/doom band that features members of Countless Skies and Everest Queen. The EP consists of 3, long slow heavy doom based songs with lots of dynamics between light/shade and quiet/loud along with crushing slabs of heaviness and growled vocals. If I were to make a comparison I'd say that Denali take from bands such as My Dying Bride and Paradise Lost maybe even early Katatonia too. 

The melodic phases shifting between spells of distorted riffs, orchestral swells and choirs adding to the whole package these are just the elements that make first song Catafalque so impressive, clocking in at 10 minutes, the shifting signatures and general introspection of the song gets you in it's icy grasp and pulls you into the melancholic malize of Denali. Beneath The Waves, another 10 minutes exploration feels the most like early/current Paradise Lost with that clean riff on top of the doomy distorted elements, as the atmospheric stings shift into a double kick battering in the middle of the song those chops shown in Countless Skies by the singer Ross King and drummer Nathan Robshaw shining brightly too here. 

The final track Deathless, and the whole EP for that matter features some crunching basswork from Simon Marston though on Deathless the guitar playing of James McGrenery and Adam C Taylor shows it's full palette, proggy, groovy and with a lot of melodic elements too. I guess you could say the same about the entirety of this debut EP. Any old school death/doom fans will love it, hopefully as much as I do. 8/10

Reviews: GGGOLDDD, Witchpit, Pist.On, Troll Teeth (Reviews By Matt Bladen, Rich P, Zak Skane, & David Karpel)

GGGOLDDD - This Shame Should Not Be Mine (Artoffact Records) [Matt Bladen]

Formerly known as Gold, the fifth album from the now retitled GGGOLDDD is a masterstroke in dynamics and musical expression. Vocalist Milena Eva has dealt with her personal experience of sexual assault on this record and it is geared towards to how Eva has have to learn to trust again after such a trauma. The lyrical influences lends itself to an introspective/unnerving listen with swathes of electronics to augment the rock instrumentation. 

Their virtual Roadburn show of last year drew comparisons to Portishead, Massive Attack and Björk, all these styles very noticeable on this new record, where the soundscapes shift in tone and energy. The rumbling Invisible, which has a repeating synth hook that will either draw you in or distract you, is almost punishing while the following number I Won't Let You Down really pushes into those Björkisms as a stripped back opening that builds into a fuzzing darkwave final part, the hauntingly powerful vocals soaring above what is an ominous backing of a drum machine and undulating electronics. 

Recorded at Jamie Gomez Arrelano's Orgone Studio, the band worked at their own pace and learned to embrace silence, which permeates through the record in a way that lets the songs breathe. Notes On How To Trust is a where these trust issues are explored, through the vein of dark, driving Depeche Mode-like pop. They're another band that has heavily influenced This Shame Should Not Be Mine, with a quirky title track having an orchestral swish, as are Cocteau Twins who you can hear on the robotic On You. 

Along with Eva GGGOLDDD are made up of Thomas Sciarone (guitar/electronics), Vincent Shore (guitar), Jaka Bolič (guitars), Igor Wouters (drums) and Daniele Warners (bass), this band delivering a record that is musically dense and confident in its delivery and composition. Darkly, intriguing electronic music with pop, art-prog and rock all smashed together in a wonderfully inventive way. 8/10

Witchpit - The Weight Of Death (Heavy Psych Sounds) [Rich P]

Sludgy stoner hardcore? Hardcore stoner sludge? Whatever you call it, the debut full length offering from South Carolina’s Witchpit brings you some great heaviness with vocals that sound right out of your favorite early 90s hardcore scene but who would really piss of the straight edge vegans in the audience.  They bring a unique combination of heavy sounds to provide an exciting listening experience to the listener while blowing their heads off at the same time. 

The opener OTTR has a killer stoner rock groove with that hardcore style bark which is more of a gruff shout then a death metal growl. Midway through the track we get a Sabbath style riff breakdown which displays their obvious classic/heavy rock influences to go along with their sludge heaviness. The next track The Blackened Fee reminds me of a groovier High On Fire and continues with the killer riffage. The production of this album is something to behold. It sounds like it could have been recorded in a haze of smoke in 1974 (the highest of complements). 

The title track is a ripper that could have been the opener to a Sick Of It All or Snapcase record. I am not sure if Witchpit like hardcore, but I hear that influence throughout The Weight Of Death. Riffs are still being provided generously with Autonomous Deprivation which brings more of that High On Fire comparison and a nice doomy breakdown halfway through. Fire and Ice is a ripper that may be my favorite track on the record and again has that fast slow fast that is so effective throughout the six songs on The Weight Of Death. 

Mr. Miserum is a slow burn closer that wraps up this album nicely with a sludgy doom feel. This album brings the heavy for sure. Killer riffs, excellent doomy breakdowns, and some stoner grooves makes this a super fun listening experience. What will turn some people off are the vocals. I personally dig it, but some will find the harsh barky hardcore style a bit off putting if that is not your thing. Overall, I highly recommend checking out this very strong debut. 8/10 

Pist.On – Cold World EP (Self Released) [Zak Skane]

Following from their extended break, the New York sludge metal four piece are back with their three track E.P Cold World. The band originally formed in the 90’s, with three releases under their name Number One (1996), $ell Out (1999) and Saves EP (2001). They’ve also had great opportunities supporting bands like Marilyn Manson, Korn and Type O Negative before they announced their hiatus in 2018. Fast forward to four years and the band are back and sludgier than ever. 

With the three track opening up with Cold World we get these classic doom metal sludgy riffs accompanied with some classic groovy drum beats from Jeff Mcmanus that take me back to classic 90’s goth with bands like Type O Negative and Paradise Lost springing to mind. Henry Front’s vocals have the same swagger and attitude of Axl Rose did in his prime. With the classic melancholic descending melodies featured in the choruses this band have began to a promising start. Ruin Your Day leads us down the rock and roll path, beginning with the palm muted riffs and a softly sung chorus that leads to sleazy grooves in the verses. 

The lyrics pack classic tongue and cheek pessimism that could easily come from the Peter Steel handbook, at this point I’m starting to understand why these guys toured with Type O back in the day. Their wintery closer Icicles opens back up with the wall of sludgy riffs accompanied by classic sounding guitar melodies that take Slash would be proud of. With Henry snarling over the doomy brew of the pounding drum beats and chonky guitars that bands like Crowbar and Paradise Lose are famous for with the mix of rock swagger of Guns N Roses this band have really done a good jobs putting Goth and rock together. 

Overall this is a great comeback for the band, with the drums sounding boomy and punchy whilst cutting through the stoner tinged guitars giving Henry snarls somewhere to sit comfortably on top. Dave Otero has a great job blending this together. Personally out of the three tracks their opener Cold World represents the band to its fullest with the gothic overtone from the descending lead parts in the choruses to the Peter Steele/Axel Rose infused vocals. The only advice I would say is that, this album is more of a continuation of their sound that they forged in the 90’s, so don’t expect any metal modernisms. 8/10

Troll Teeth - Hanged, Drawn, And Quartered (Electric Talon Records) [David Karpel]

Some people wear their politics on their sleeve. New Jersey’s Troll Teeth, meanwhile, wear their politics on their bludgeoning riffs. The songs on Hanged, Drawn, And Quartered rumble and roll with sludge soaked psych-doom tempos and a blues-tinged poli-sci temperament. Lyrically inspired by the postcolonial works of Cameroonian political philosopher Achille Mbeme, Moe (bass/vocals), Pretty Boy (bass), and Thuds (drums), prove that their latest line-up, consistent for the last two of their three albums, has allowed them to solidify their modus operandi. 

Vocals ride the shallows, clear and yearning, then soar over curling riffs. Clean solos give an electrified dimension to the hammering doom, and the bottom booms – all secured in groove with the plodding beats provided by the often subtle power of thunds. Opening track Hand Me Down, at 8 minutes, is a solid introduction to all that follows. Lyrics depict purposeful class divisions and the powerful “covering their tracks of supremacy.” A repetitive Sabbathian riff cuts a slow, crunchy shuffle and lays a foundation for Moe to sing a lament for the “entrenched mindsets” of society’s ills. Elephant In The Room, founded on a bass line that gives the song a doomy Pearl Jam feel, allows Moe’s vocals to continue to mourn, stretching melodies over that slinky bass, thick riffs, and that bottom heavy bass. At 9 minutes, it’s a long jam and I get the feeling after these first two songs that these guys live for the slow and smoked jam sessions. 

Picking up the pace, the surprising Gallows On The Playground shows what Troll Teeth can do in half the time of the previous song. The bass playing here–and throughout–really shines, and Moe’s vocals, slow as molasses over a steadily rushing river of riffs, are ever more spooky in the juxtaposition. The urgency of the song is only enhanced by the direct message therein, as Moe sings,  “It's just a little game they like to play/ Giving you rights just to strip them away/ Sure they got rid of slavery/ Gave you a cage so fine you'll never be free.” Expect Nothing, Receive Nothing sees the band return to the long form and emphasizes the jam-band qualities that develop in the longer tunes on the album. Although the instrumental sections on Expect Nothing… contain some of the best musicianship on the record–it sounds like a live, spontaneous jam session that builds riff upon riff that climb a steep, muscle wrenching incline–at the same time, I wonder if the song as a whole could have been a bit shorter without losing a thing, which says something. 

The shortest song on the album at a bit over 3 minutes, Move is a  sing-along acoustic guitar ballad about the cruelty and injustice of extreme economic inequality and poverty. Out Of The World may be the strongest song on the album with its tight playing, catchy grooves, and the most realized lyrics and vocals that by the end become uplifting in a climactic conclusion. Notes From The Post Colonial and Your Hands Are Red both continue the strong playing evident in Out Of The World, with time changes, driving chords and beats, and, again, guitar lead jams that lift off and aim for the outer limits. Because Gallows On the Playground shows how good Troll Teeth can be with some constraint, a few of the longer tracks, although mostly enjoyable, feel somewhat self-indulgent. Still, this is Troll Teeth’s best effort yet and it seems they’re determined to carve out a neat niche for themselves with their punk politics and crunchy sludge riffs. 7/10