The Spotlight: Interview With Skye Sweetnam of Sumo Cyco By Neil Lewis

I’ve said this before, but I think it bears repeating: Sumo Cyco are a hard-working band. Vocalist/lyricist Skye “Sever” Sweetnam also produces and directs the bands’ music videos, makes customised jewellery and clothing for the bands’ web store and maintains all the bands’ social media profiles whilst guitarist / sometime multi-instrumentalist / songwriter Matt “MD13” Drake also produces and engineers the bands’ music at their in-home studio in Hamilton, Ontario. The band (which is completed by bassist Oscar Ansetti and drummer Trozzi) are currently in the middle of a mammoth tour of the US and Canada as support to the rather excellent Jinjer which will see them playing 44 shows in 57 days.

Following this tour, they have a couple of weeks’ break (most if not all of which I imagine will likely be spent in their studio and / or in front of – and behind – the camera) before heading over to the UK towards the end of November for what will be their tenth UK tour since their first visit to these shores in 2013. I should mention that they do all of this with no travelling crew to speak of at all. Oh, and Skye runs the merch table after their shows.

The band maintain a very close bond with their fanbase (which can at times resemble something of a cult!), so in amongst everything else they currently have going on Skye was recently gracious enough to spend some time answering a few questions for the Musipedia Of Metal; the first of which was with regards to what information – if any – about their upcoming and as yet untitled third album we could share with our dear readers:

Skye: “Sorry! Nothing we can reveal yet!”

(Neil’s note: well you gotta ask, haha!)

Skye: “We can tell you we have written more songs for this album then any other album. We want this one to be the best of the best. We’ve experimented more then ever and are still writing in between our busy tour schedule.”

Album 3 is being crowd funded on your own website (sumocyco.com) following the demise of pledgemusic which the band used to crowd fund album 2 (2017’s Opus Mar); How is the campaign going so far?

Skye: “We are very happy with how the crowd funding campaign has been going. Shout out to the fans that have pre-ordered!”

Will album 3 be released this year?

Skye: “Album 3 will not be out this year unfortunately but that doesn’t mean we won’t be leaving more bread crumbs in anticipation. We still need to reach our goal before we release! We also have some exciting opportunities behind the scenes so things can always change but we feel we owe our fans to try to get out new music as soon as possible.”

The aforementioned website has a bit of backstory for the two videos that have already been released (Love You Wrong and Run With The Giants) which seems to suggest that there is going to be a story running through the album, is that correct? Can you tell us any more about the story or the characters?

Skye: “Yes! You’re correct. The place to start is on our crowd funding page (Neil’s note: sumocyco.com/album3) where you can take a quiz to find out which Cyco City Club you belong to. Each club has it’s own symbol and identity that corresponds with the pre-order packages. Our first video “Love You Wrong” features two characters “Tragic” from the Club Assassinners and “Glory” from The Club “Not Sorry Sorority”. The second video “Run With The Giants” is a prequel to “Love You Wrong” which features the rivalry between “Anonymous 9” and “Not Sorry Sorority” - many more pieces of the story are to be revealed. The Album BOOK will feature the entire story and the music videos will continue to play out more pieces of the puzzle!”

So we’ll be introduced to members of all four Cyco City Clubs before album 3 comes out?

Skye: “Yes of course! Like I mentioned previously Love You Wrong features “Tragic” from Assassinners and we have shown a few clips of the golden family of “Malice & Co.” on our socials. More coming soon!”

There is a track-by-track rundown of Opus Mar on your YouTube channel (youtube.com/sumocyco), do you think you’ll do one for the new album?

Skye: “We would love to! Many of the behind the scenes making of the album will be featured on the USBs included in the pre-order packages. We will also make public videos as well.”

Recently you spent a couple of weeks in Vegas working with Kane Churko in his Hideout studio. How did the two weeks go? Did you get everything done that you wanted to do?

Skye: “Working with Kane was great! He is super talented and we loved adding his energy to the mix. Going to Vegas and working at The Hideout really got us out of our comfort zone and gave us a new perspective. We completed two songs which was what we came there to do and I think they are really banging. I’m super excited to share these.”

Regarding your creative process, are there ever any creative differences in Cyco City?

Skye: “All the time. Haha Matt and I are good collaborators because we don’t always agree. Then once we do agree we know we’ve got something exceptional.”

So what kinds of things have inspired and influenced you for album 3 and in general?

Skye: “Wow! Well so much on many scales. Current events and world issues to my own experiences and everyday struggles. I love to use music as a way to express myself so things can get dark but that’s usually because I’m processing those feelings to get back to the light.”

A lot of your lyrics speak of very positive messages and encouraging self-empowerment (Fighter, Free Yourself, Move Mountains, Building Castles, Undefeated etc), would you say that’s the core Sumo Cyco message (if there is one)?

Skye: “I think overcoming obstacles is a huge theme, yes. At the end of the day I want people to feel more empowered by listening to our music but that doesn’t mean I want to sugar coat real feelings and emotions.”

Some bands write their songs primarily with the live performance in mind, is this Sumo Cyco’s approach?

Skye: “We don’t always write with playing live in mind, but it certainly does affect our writing after we return from a tour. We see what works and we try to make more dynamic moments happen on stage with the set.”

Back in June, you performed at the UK’s Download Festival on the Avalanche stage, how was that experience?

Syke: “Download man! Wow! I finally know what everyone has been talking about. We loved the experience from the muddy wellies to performing and meeting some of our favourite artists*.”

(*Neil’s note: as an example, Skye and Matt were in the middle of being interviewed in the artists area when Clutch walked in. Matt immediately abandoned the interview to go say hi to them!).

I believe you also spent some time in the NXT wrestling tent?

Skye: “We did go to the NXT tent! There are many similarities between entertaining a crowd as a wrestler and as a front person of a band. I learned a lot from watching Chris Jericho when we toured with Fozzy. I love the over the top showmanship.”

Having played Download, what would be the next goal for Sumo Cyco on the road to world domination?

Skye: “Ahhh hard to say but now that we got to experience our first large festival we are hungry for more! We would love to do more of the festival circuit next year.”

Touring isn’t necessarily a glamorous lifestyle; you can’t shower or launder your clothes regularly and you eat on the go pretty much all the time. What’s your least favourite thing about long tour schedules such as the current Jinjer tour?

Skye: “The southern heat! We live in essentially a tin box (our mini tour bus) and this tour we went to the trouble to buy an AC unit and a generator to run it but it just can’t keep up with the heat. The heat does not help the stinky smells, no access to showers and makes it hard to sleep. Yesterday our drummer even got extreme dehydration which we think was sparked by food poisoning but because of the heat it was just unbearable that he had to be hospitalized*. It’s serious stuff. Just means we gotta upgrade the ride at some point but honestly that’s the worst of it. Self care is extremely important on the road. Eating right, drinking water and not as much booze is essential.”

(*Neil’s note: I’m thankful to say that said drummer, Trozzi, has since made a full recovery).

So, does a good show totally make up for any nightmares you may encounter on the journey there?

Skye: “Oh you bet! Nothing beats a great show! That’s why so many musicians do what we do. It’s definitely not for the money.”

Can us UK fans expect to hear any new songs being aired on your next tour here in November?

Skye: “Yes! We will have a couple new ones along with our latest singles “Love You Wrong” and “Run with the Giants” - Can’t wait to play them!!”

I still occasionally see and read female band members being asked the age-old question of what it’s like to be a female in the male-dominated rock world, how do you feel about being asked about this?

Skye: “I’m not one of those people that feel offended by the women in rock question. I think we still have a ways to go to get equal representation in the genre so until that day comes I’ll be pumping up my ladies. During the first week of tour I had one female rocker in the pit stop a guy from grabbing my ass. So we are looking out for one another out there.”

“Every tattoo has a story”, so the saying goes. Does anyone want to share a story behind any of their tattoos?

Skye: “Matt always is very impromptu when it comes to tattoos. He always gets different tattoos from the places he visits. Has ink from Japan, New Zealand, all across the states, Ireland & Scotland - he looks at the pieces as reminders of where he’s been.”

Skye: “Trozzi is working on a building his tattoo collection with the theme of Good and Evil, good characters on the left and evil on the right with some of his favourite childhood characters on his arms as he builds his way up.”

And finally, what bands / albums do you think Sumo Cyco fans should be listening to while we wait for album 3 to be released?

Skye: “Perfect place to hear what we’re listening to is our Spotify playlists - Just added a bunch of music including Grandson, Nova Twins, Jinjer, Hands Off Gretel to the “Sever’s Current Mood” Playlist. I update it all the time so check back for new songs!”

Well, you heard the lady so why not give that playlist a follow?

Many thanks to Skye for taking the time to answer these. Sumo Cyco will be touring the UK from the 24th of November to the 8th of December, full details and ticket links can be found on their website.

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

The Velveteers, Excellent Skeleton & Livin' Cheap, The Moon, Cardiff

So as I was supposed to be at Kings X on this evening but the whole European tour was cancelled so I went in search of other gigs on the same evening (talk about commitment) so it was into Cardiff on a Tuesday night just as Freshers fortnight was beginning to go down to The Moon for something a little different to our normal heavy as all hell live gigs.

Opening the night were Livin Cheap (7) who over some feedback drenched ambience introduced themselves and went into some choppy power rock which had a punky edge but also the alt style of Biffy Clyro due to the way they attacked their instruments and moved between alt rock riffs and quieter moments. Playing to about 8 people is never an easy thing but they took it in their stride moving from emotional rocker to another. This is what I've always called Telecaster music, broad open chords with an indie twang and raw vocal phrasing. Livin Cheap really impressed me despite not always being a fan of this style on record live you can really hear the passion that goes into this style. Friendly and warm towards the audience there is real conviction in their music that was reciprocated by the crowd. An excellent opening band for this evening's entertainment.

Next up were the psych drenched sounds of Excellent Skeleton (8) who I can describe as a less heavy Mammoth Weed Wizard Bastard with a heaving load of Sonic Youth and The Pixies as the feature stoner/doom riffs with again a jangly alt rock edge but they also have extensive use of keys and samples that bring an extra dimension to things, along with haunting at times droning (in a good way) double vocal. Their music is ethereal with some colossal grooves and swirling lead breaks taking you to a another plain as the band were clearly deep on their own happy place as there were numerous eyes closed just feeling the music. The crowd had swelled (in fact it was the biggest of the evening) but I'd never seen this band before, I had heard good things from someone who I share a lot of similar artist likes with, so I was keen to check them out and their psych-meets-alt grunge sound is one that welcomes you with open arms and then pulls you down the rabbit hole into a bad acid trip, this isn't music you listen to its music that envelopes you with a major chunk of heft...and it's all the better for it!

Then it was time for some filthy Detroit styled garage rocking from The Velveteers (8) who are a Denver, Colorado three piece consisting of Demi Demitro on vocals and guitar, with John Demitro and Adrian Pottersmith on drums. Yes folks two drummers who basically took up the back of the stage with one sprawling drum setup as they also incorporated keys, percussion and slide guitar. The desert rocking second track really emphasised this bands primal sound with hefty does of 60's psych getting the heads nodding. It's a thrilling of amalgamation of Jefferson Airplane, The Stooges, The White Stripes and QOTSA built around the often syncopated percussive assault and Demi's soaring sneering vocals and searing guitar work which incorporates fuzzy riffs and woozy lead breaks. There's real grit and guts to their music with the attitude just pouring out of their frontwoman while her brother and Adrian let the kit breathe while always giving a driving groove for Demi's riffs as they weren't shy about moving into some Summer Of Love freakouts either, though they are badged as punk I suppose it's more about their attitude as only really one or two of their tracks could classify under the banner of The Ramones and even they eventually gave way to head nodding grooves. As the climax of the evening came the band excelled themselves with their two hardest rocking numbers that got the room, which happily had quite an even split between men and women throwing themselves into things., moving in unison, the ladies especially rocking out down the front. As I said was supposed to be at Kings X tonight so when that was cancelled I luckily had this to fall back on and if I'm honest for the princely sum of £5 this was a much better gig!

Reviews: Alice Cooper, Borknagar, Admiral Sir Cloudesley Shovell, One Hour Hell (Paul & Val)

Alice Cooper: Breadcrumbs EP (earMusic) [Paul Hutchings]

Let’s face it. The legend that is Alice Cooper hasn’t made anything that takes your breath away since about 1975. His work with the Hollywood Vampires is routine and uninspiring and except for 2017’s Paranormal his last studio offerings have been pretty limp affairs. It’s in the live arena, with the backing of his 1970s back catalogue where Cooper earns his status. Cooper, like many of those of his era clings desperately to the good old days, even though most of them are well over 40 years ago. Most of his interviews recite long gone times, with similar stories recycled ad nauseum. At times this gets a bit much for me, the alter ego of Vincent Furnier more cabaret than shock rock these days. In advance of his promised new album we get the latest offering, a six track EP paying homage to his hometown Detroit and the garage rock heroes of the same era. Four covers, a reworking of Detroit City from his 2003 album The Eyes Of Alice Cooper and a new song, Go Man Go, co-written with MC5 man Wayne Kramer. The latter is by far the best track on the album. A rocky fiery number which has the raucous punk edge that the MC5 were renowned for.

Listening to Cooper swapping licks on Devil With A Blue Dress On, the Mitch Ryder and the Detroit Wheels song is painful. No 71-year-old man should be reciting such lyrics. He just comes across as a pervert. Bob Seger’s East Side Story is reasonable, Cooper singing well with his instantly recognisable rasping vocals, but Suzi Quatro’s Your Mamma Won’t Like Me fails badly. At least the MC5 cover Sister Ann allows Kramer to let rip with some chunky guitar work. It’s well produced as you’d expect with Bob Ezrin at the helm, but it reeks of yet another cash cow. Cooper’s popularity remains high, his forthcoming sold-out Cardiff arena show testament to this. Musically, this is painting by numbers and playing it safe. Clearly, at his age, Cooper doesn’t have to do anything he doesn’t wish to do. I can’t blame him and whilst people continue to throw money at him, good luck is all I can say. This latest release won’t have me rushing out to grab a copy though. 5/10

Borknagar: True North (Century Media) [Val D'Arcy]

Prepare yourselves for True North, Borknagar's 11th album and a masterpiece in progressive black metal. Like anything deemed or proclaimed to be progressive I approach it with a degree of caution as is wise to do, after all, rules are scarce and you can't be certain of what you'll encounter. That said, my curiosity piqued a few months ago when they released their first single from the album The Fire That Burns. At the time, founding (and last remaining original) member Brun commented that they had chosen to release this song as it conceptually embodied the album as a whole, rather than any other reason. Having experienced the whole album now I can sympathise with that rationale, the notion of True North, the singular truth of direction and purpose is both the cornerstone of this record lyrically and thematically, but also reflects the evolution of Borknagar. I personally discovered Borknagar relatively late in the life of the band around 2004 with the release of Epic. As an impressionable teenager still finding my feet with black metal at that time it was an instant hit. I remember seeing them not long after in Norway and being blown away by how full and energetic their sound and presence was on stage. 

Admittedly over the years I've struggled to always buy into the progressive cause to which, they have remained firmly dedicated. In fact they really lost me for a bit when they released Origin, but I seem to recall Opeth doing something similar around that time so I passed it off as a phase. 2010 saw their affirmative return and with it Vortex back in the band; someone I've always been a huge fan of and sorely mourned over since his departure from Norwegian neighbours Dimmu Borgir. This album is very much the creative child of Vortex and those legendary vocals are at the front and center of True North. For anyone concerned over the departure of Vintersorg, let me put your minds at rest. Indeed where a lot of albums I listen to the vocals are there, as a distinct and constant layer, here they are much more. Vortex alone gives a career defining performance in both clean and harsh singing, but coupled with the backing of Nedland together they create something truly special. Transcending far beyond lyrical and melodic delivery, the vocals on True North conduct the orchestration whilst being a symphony in themselves. Musically, well, despite me already having referred to this album as black metal once, everyone knows Borknagar have long since departed that realm. 

Nonetheless there are clear black metal influences throughout True North that lay the foundations of this sound. Beyond that there are moments throughout the record where it reaches beyond that to the very surface in tracks such as The Fire That Burns and Tidal. Over and above that Borknagar have perfected what feels like the final evolutionary form of their progressive style. It's as if all roads laid by their previous musical endeavours have led to this destination. Threads of folk, melodic death metal and hard rock are masterfully woven over an icy carcass that is cold and black at its heart. It's fair to say few albums achieve the same level of emotive impact as True North when it comes to conjuring the images synonymous with its name; as a listener you are transported to snow covered mountain ranges, to the desolate rocky foothills and tranquil frozen lakes, battling the elements, palpable, bitter winds pierce the veil and envelop you. Am I now a prog convert and devotee? No of course not, but safe to say I'm a firm believer of the new Borknagar. The new lineup clearly work very well as a band and have come together behind the creative force of ICS Vortex to create what will surely be one of the musical highlights of 2019. 9/10
Admiral Sir Cloudesley Shovell: Very Uncertain Times (Rise Above Records) [Paul Hutchings]

The fourth album from the greasy biker rockers from Hastings, and their first since Keep It Greasy sees the trio in imperious form. Johnny Gorilla, Louis Comfort-Wiggett and drummer Serra Petale (who makes a blistering debut) blast out 35 minutes of typically gritty and confident dirty rock n’ roll. Now entering their second decade, the Admiral have released arguably the best album of their career. Kicking off with the title track, a barn stomping, booze fuelled monster, easing back with the bluesy psychedelic stomp of The Third degree which sees Gorilla adding some sweet guitar over the locked down rhythm section and the heads down rock n’ roll of Mr Freedom, a track which echoes The Ramones and Motörhead in spades, this is an album to drive hard to, to drink beer to and to have a good time to. The essence of the band’s live show is captured here, and if you’ve ever seen them live then you’ll know that this is a compliment. There is nothing to dislike here. It’s fast, it’s grubby and greasy but it’s also bloody good from a band who are consistently excellent. Get this album, get slippery and enjoy some quality rock and roll. 8/10

One Hour Hell: Voidwalker (ViciSolum Productions) [Paul Hutchings]

Swedish melodeath has never been my favourite style of music. One Hour Hell from Stockholm have been in existence for over a decade, first releasing their debut album Product Of Mass Murder in 2008. Voidwalker is their third release and it’s a bruising piece of melodic death which will appeal to many. Intricate structures, raging guttural vocals and complex guitar and bass work create a feel which provides a mixture of the extremity of Meshuggah and the melody of In Flames. Hall Of A Thousand Minds provides the perfect example; a pounding six minute plus runaway ride which combines the driving bass lines of new man Teddy Moller and the repetitive guitar structures of Kristen Andersen and fellow new guitar player Ludvig Âgren. The haunting atmospheric Within with added keyboards and ethereal backing vocals changes pace and style but retains the thunderous approach. Clean and guttural vocals mix in traditional style. It’s a bit repetitive and unwieldy at times and I struggled to maintain listening enthusiasm throughout the challenging 50 minutes. If you love your melodeath with a touch of Djent, then get on board. This should be some ride [but I think I’ll pass for now]. 6/10

Reviews: Ghost, Dog Tired, Tides From Nebula, The Holeum (Matt & Lee)

Ghost: Seven Inches Of Satanic Panic (Lorma Vista) [Matt Bladen]

The Nameless Ghouls and their face painted leader return with a special 2-track EP, which according to their official channels if the 50th Anniversary re-release of their 1969 seven-inch. It was a time when rock stars were reckless and the music was drenched in the dying light of hippy psychedelia and Ghost were fronted by Papa Nihil (the man who parps the sax on the most recent Ghost record). The A Side is Kiss The Go-Goat a stomping The Doors like rocker where the frontman encourages the female listeners to welcome Satan by kissing the Hoofed Anti-Christ "He's the guy you want to do, And you know he wants to do you too". It's a proper Sixties rocker with bubbling psych organs, fuzzy guitar riffs and those distinctive vocals with nods to Spooky Tooth and Steppenwolf bands that came into their all as the dream of the Summer Of Love was officially dying in a bad Acid Trip. Mary On A Cross is a the second song on the EP which is perhaps more psych-drenched and Gothic than the first sounding like a lost Iron Butterfly release but with filthier lyrics "If you choose to run away with me, I will tickle you internally". Yes it's a stopgap release but one that will bring yet more new material for the faithful congregation to sing at their arena shows later this year. 7/10

Dog Tired: Electric Abyss (Self Released) [Matt Bladen]

Coming from the streets of Edinburgh Dog Tired are all about riffs, bowel rumbling, head crushing riffs. This album is their newest slice of heaviness built around their love of bands such as Gojira and Entombed with the grooves of Pantera. It's quite a unique sound from the band with synths bubbling up on the intro of the title track before the crunching riffage of tracks such as the thundering Beyond The Grave the thrashy Dagoth's Nine and the more stripped down Aeon which is a acoustic interlude showing another side to the band as the Blade Runner-meets-death metal Lords Of The Vile which has thick walls of riffs that will cause massive pits live. Dog Tired are a brutal act and this album grips you by the throat from the beginning with the barked but understandable vocals and the walls of bullying riffs. However I've alluded to this elsewhere in the review that they aren't all about battering they do have a spacey side to them and there are some nifty guitar solos too for any fans of six string mastery. Electric Abyss puts Dog Tired near the top of a pile in a year that has seen the sludgier/proggier side of the music scene really move to that next level, Dog Tired have upped their game as well with this powerful album that climaxes with the thrashing of Kingdom. It's definitely got riffs galore so turn it up! 8/10

Tides From Nebula: From Voodoo To Zen (Longbranch/SPV) [Lee Burgess]

Tides From Nebula are not just a post-rock outfit but one of the best. Their layered dream-like tunes flow out of the speakers like alien songs from the future. I know this all sounds a bit hippy dippy but believe me, if you are looking for something relaxing and remote, then this is it. Their new record, From Voodoo To Zen is a mystical otherwordly journey. You cannot just pick this up and instantly get it. You should let it sink in, absorb it and pay it through. It isn’t metal in the sense that it doesn’t have the anger or the label of protest music. This is music for fans of God Is An Astronaut, Pelican and Explosions In The Sky. But, TFN are just that little bit different. They have another layer of musicianship that lift them from the pigeon-holing of commercial genres. There is something uncomplicated about this album that means it’s got the epic nature of the afore-mentioned bands, but without the arrogance that some bands seem to have in their music. If there are any of you that are thinking this just sounds like elitist wank, you need to give it a go. There are few bands that I listen to and become instantly enthralled by, but these are really something to get your ears around. Yes, it’s weird, yes it’s trippy and yes it’s different, but different can be good, and this proves it. Having seen a number of post-rock bands, I am eager to see what this lot can do in a live setting. 9/10

The Holeum: Sublime Emptiness (Lifeforce Records) [Lee Burgess]

The Holeum dropped in my inbox and I had never heard the name, but they came under the banner of doom/post metal. I hate labels, I really do, but, this one is very accurate and describes what this little lot do very well. This is got-tinged post metal with a real understanding of doom and foreboding. First off, may I congratulate this band for not just walking the well-trodden steps of bands like Cult Of Luna and Earth. Actually, there is more here than labels can give. The Holeum’s record Sublime Emptiness is not just a bleak crushing dirge, but a well-structured, balanced collection of deeply affecting tunes which give us everything from Bowie’s last record Black Star to shades of the later sounds of Samael. Indeed, more than once this record sounds as if it’s going to leap into something very black and Satanic, but thankfully, these guys have the sense to keep the groove and melodic sensibility to their music. Heavy on riffage and atmosphere, there is the feeling that the band have honed their craft to such a degree that they really know who they are. The mix is brilliant, bruising and never drops into that low budget tinny sound that many lesser known bands seem to utilise, or just don’t fix. I don’t think we should get all wrapped up in genres with these, let’s just all agree that we all need to go out and sodding well buy the album. 9/10

Reviews: Iggy Pop, Michael Schenker Fest, Wage War, Coldrain (Paul H & Liam)

Iggy Pop: Free (Caroline International/Loma Vista) [Paul Hutchings]

This one appeared a bit out of nowhere but that’s probably because although I’ve always enjoyed his work, I wouldn’t class myself as a mega fan of the mighty Iggy Pop. His most recent release, Post Pop Depression was a classy high end piece of post pop. Free is his 18th release and whilst there are moments which mirror Post Pop Depression, it doesn’t have quite the same cohesion or quality. The Godfather of Punk is on fine form on Loves Missing, his deep rich vocals working in unison with the urgent guitar work. The album features a series of reflective and laid back songs and poems, the majority of which were written by jazz trumpeter Leron Thomas and shoegaze guitarist Noveller, with Pop declaring that “he lends his voice” to music that others have made.

Highlights include the superb James Bond, which features some superb saxophone and the velvet tones of Glow In The Dark with its jazz breakdowns. Elsewhere, Sonali is passable, whilst the lyrical content Dirty Sanchez adds little. There is enough to enjoy here however. We Are The People features lyrics written by Lou Reed in 1970 and first posthumously released in 2018. Chillingly accurate and relevant, accompanied only by Thomas’ saxophone and single piano chords, Reed’s words echo prophetically. Pop’s recital of Dylan Thomas’ Do Not Go Gentle Into That Good Night is impassioned and cannot fail to stir and The Dawn is a haunting conclusion. It’s a little fragmented, and the combination of poems and music leave the listener a little disappointed. At just over 30 minutes its over quickly and it may be that living with it for a few months will allow greater appreciation. It does feel more as if Pop is guesting here. 7/10

Michael Schenker Fest: Revelation (Nuclear Blast) [Paul Hutchings]

Forging on with album number 2, Schenker and his merry band continue on the gravy train of melodic hard rock a mere 16 months since Resurrection, 2018’s album that featured all four of MSG singers alongside the now deceased Ted McKenna, Bodo Schopf , rhythm guitarist and keyboard player Steve Mann and drummer Simon Phillips. Revelation boasts another biblical album cover, with Schenker hoisted high in crucifixion style on his Flying V whilst the rest of the band fight with Roman centurions in a crass recreation of Golgotha which will no doubt upset the religious nutters across the globe.

Opener Rock Steady is a bit of a plodding track to introduce a new album, a rather mundane and routine song which is totally overshadowed by the thumping Under A Blood Red Sky, which allows Dougie White to demonstrate why he is the best singer that Schenker has ever worked with. Full of melody, Phillips battering drums, thick keyboards and a sweet piece of guitar work, it’s one of the best songs here. White soars vocally, his clean delivery always a joy. The boogie feel of Silent Again is muted by McCauley’s average vocals, whilst Sleeping With the Light On, one of three tracks featuring all four vocalists doesn’t do much except highlight that White and Graham Bonnett are superior singers. Bonnett proves his mettle with a belter on The Beast In The Shadows, once more his fantastic voice blots out what an utter dislikable fellow he was when I last saw him live. This track really rocks mind you, with another driving rhythm and some chunky riffs.

I’ve written many reviews for Schenker and his various line-ups. Some of his music is utter guff, but there are at least a few rockers here which get the pulse racing. Behind The Smile is a song that would have been brilliant for Ronnie James Dio. A dipping and diving vocal with a solid backing track reminiscent of Rainbow in parts. How I would have loved to hear the much missed Elf frontman give his all on this. White gives a great performance mind and it’s another highlight. I’ve not been a fan of Gary Barden’s weak vocals for a long time and Crazy Daze demonstrates exactly why. Played in a lower key to compensate for his limited range, plenty of harmonies on the choruses mask some of his deficiencies whilst the song is bland and featureless. McAuley gets another go on Lead You Astray, a song which you yearn for Glenn Hughes’ vocal prowess to command and control. A similar pattern emerges, with repetitive rhythm and riffs.

As if four vocalists aren’t enough, We Are The Voice features Ronnie Romero, and is a reasonable song. I’m not overwhelmed by his slightly raspy delivery, and the song itself is unremarkable. Barden disappointedly returns on Headed For The Sun, which once again repeats the formula which is by now exasperating. Every song sounds the same, just with varying quality of singing. At least the style changes to a hard rock stomp on Old Man, the third song to feature all four singers. Another average track, it has elements of Neil Young on the chorus, but that’s about it’s only redemption. Penultimate song Still In The Fight stars Bonnet but it doesn’t get close to his earlier offering. In fact, the best track for me is the instrumental Ascension which closes the album, with Schenker in full flow doing what he does best: shred. Full of melody, pace and power, this is what I love about Metal Mickey. A blur of the fingers, high speed classic hard rock drumming and bass, with added depth from lush keys, this is what we want. Unfortunately, the highlights are few on an album which doesn’t actually disappoint, because I wasn’t expecting that much from the start. 6/10

Wage War: Pressure (Fearless Records) [Liam True]

I’m in two minds about this album. On one hand it’s generic, predictable and been done a million times before it. On the other, it’s a superb album that blends the soul crushing breakdowns together with the angelic and demonic vocals of Briton Bond & Cody Quistad. It’s nothing new at all, but it’s the way the band creates the sound and puts it together to create Pressure. It’s not something that can be explained, but when you hear the album, you’ll know exactly what I mean by this. If anything, there’s not really a stand out track, but Who I Am or Prison come to mind as the best. It’s just an album that I'm in two minds against. Listen to this for yourself and give your own opinion. I’m just conflicted about it. 6/10

Coldrain: The Side Effects (Warner Music Japan) [Liam True]

I was excited for this album as the previous two albums have been pretty damn good. But I was left disappointed and flat at the end of the album. The album is decent, but nothing morel. There’s a few decent riffs, but nothing more. There are a few good breakdowns, but, you guessed it. Nothing more. It’s not a terrible album, but it’s not their strongest effort. It almost feels like a rip off of Bullet For My Valentine’s Gravity. The vocals sounds exactly the same. The writing is almost similar and the production is just blegh. Everything about the album just feels stolen, copied and blatantly ripped off from other Metalcore artists. I felt let down and lied to with this album. Shame really because the band are actually very good. Just listen to the previous two albums. Leave this to it’s fate 2/10

Reviews: The Bleeding, Disillusion, Mystagogue, Sublime Eyes (Matt, Rich, Paul H & Liam)

The Bleeding: Morbid Prophecy (World War Now Records) [Matt Bladen]

Following up on 2018's Rites Of Absolution with some more face melting death/thrash metal, The Bleeding are a band who have an intent to destroy Demonic Oath with a slow burning ominous opening that explodes into frantic double kicks, scything riffs and vocals that are spit with bile. Guitarist Tasos says that this record "is an aural descent into hell that encapsulates the saga of the fall of man" with that in mind you can really hear that Slayer meets Deicide vibe on this album, each track destroys your speakers with some of the tightest drumming I've heard from the always impressive James as the guitars and bass of Tasos and Sean grind your ears into mush with thick grooves, distorted thrash riffs and the occasional explosive guitar solo. Entering The Pandemonium has a tasty breakdown section at the end while the title track sounds like a Morbid Angel track (maybe that's the point) with some technical guitar work. Germ's vocals are savage like a wolf ripping at a carcass with enthusiasm as 7 of these songs that cleave deep spilling blood with every rapid fire riff. Now I said 7 as Repentance is an acoustic number that serves as a breathing space and an intro to the Hammer Of Penance the final ferocious slice of brutality on this imposing lump of extreme metal. Following up on an acclaimed album is always a hard thing to do but The Bleeding have done it with the merciless precision you would only expect from this London death crew, storming! 8/10

Disillusion: The Liberation (Prophecy Productions) [Rich Oliver]

Just when you think you have heard all the best albums of the year another one comes along and takes you by surprise. As a self confessed music addict this is both a wonderful thing seeing the sheer quality of music that is still being released by bands but it also means that compiling a top albums list at the end of the year is going to be an impossibly tough and laborious task. Wowing me this time round is The Liberation which is the third album by German progressive melodic death metallers Disillusion. Disillusion are a band I have heard previously being a big fan of their debut album Back To Times Of Splendor but I had no idea the band were still active seeing as the last album they released was Gloria in 2006 so the release of The Liberation came as a complete surprise. The surprise was made even more pleasant by the fact that despite a 13 year gap between albums The Liberation is hands down the best thing the band have released. Sound wise this album harks back to their debut album rather than the more experimental Gloria being a splendid mix of melodic death metal and progressive metal but expands and builds upon what has been done before resulting in a colossal and breathtaking listening experience with so many layers and intricacies that this is an album requiring multiple listens to fully engage with it all.

After a short intro track the album kicks off good and proper with the massive Wintertide which pretty much acts as a showcase of what is to come on the album. It’s a huge song with a duration of over 12 minutes and the band throw their complete arsenal at you - melodic death metal riffs, a conglomeration of vocal styles, luscious epic melodies, quiet introspective moments and bagfuls of atmosphere. And that is just the start of the album! Highlights which follow include The Great Unknown which is similar to what has come before, albeit in a more cut down and direct form whilst the title track is sweepingly epic with some stunning orchestration, huge melodies and a divine chorus. Tracks such as A Shimmer In The Darkest Sea and Time To Let Go play on the brooding and melancholic side of the band and are must hear songs for any fan of dark contemporary prog whilst the closing 12 minute epic The Mountain brings the album to a mammoth conclusion. The Liberation is quite simply an astonishing album. It is a prog metal extravaganza that will appeal to fans of bands such as Opeth, Insomnium and Devin Townsend. For all the fans gushing about the new Tool album being the progressive metal album of the year give this album a whirl as I’m sure it will change your minds. There’s not much else I can say apart from listen to this album and listen to it NOW! 9/10

Mystagogue: And The Darkness Was Cast Out Into The Wilderness (Vendetta Records) [Paul Hutchings]

Netherlands duo Mystagogue deliver a ferocious onslaught of classic old school black metal on this, their debut album. Drummer Wessel Reijman is on blistering blast beat duty, hammering all shades out of the kit as he pounds away. There’s a bit of Alcest style melody on some of the tracks, such as Here In The White Silence Of The Dawn, the tremolo riffs of Maurice de Jong, the multi-instrumentalist and vocalist echoing in a cacophony of black metal repetition. There is enough to enjoy in this release, although it’s 1990s production and muddy, soup of a mix don’t provide much of a lift. At 27 minutes long, it’s enough to enjoy without investing too much time and effort. A reasonable release, with two talented musicians but not something that I’ll be returning to in the near future. 5/10

Sublime Eyes: Corrocean (Rob Mules Records) [Liam True]

I’m going to make a bold statement. This is the best Melodic Death Metal album since At The Gates’ 2014 comeback At War With Reality. Everything about this album is great. The production. The heavy as a falling cinder block onto your balls instrumentation. The vile snarling vocals of Arvid Tjekla. The eye catching dark artwork. Sublime Eyes are in their top form on this record. From opener We Must Unite the tone of the record is set straight on the current state of the world, with Tjelta proclaiming ‘We Are Fucked! We Must Unite!’ It’s enough to get the blood pumping and adrenaline rushing.

But that’s just the start. The album does not let up, as it gets even more heavier, even more technical and straight up destructive. While taking influence from At The Gates, the band just absolutely crush the current bands in the Melo-Death genre. With the Norwegian quintet setting their sights on making a name for themselves, consider it done. These guys are more than deserving if the limelight. If they can produce one or two more records like this, they’ll be headlining all around Europe and hopefully the UK. 10/10

Reviews: Exhorder, Dragonforce, Obzidian Tide, Hope Drone (Matt, Rich & Val)

Exhorder: Mourn The Southern Skies (Nuclear Blast) [Rich Oliver]

For all the Tool fans bemoaning the fact that they have had to wait 13 years for a new album please spare a thought for the Exhorder fans who have been waiting for a whopping 27 years with the previous album by the band being 1992’s The Law album. With such a long wait between releases Mourn The Southern Skies could be crushed under the weight of expectation but thankfully this album is damn good. If you are expecting Slaughter In The Vatican Part 2 then you may be disappointed by Mourn The Southern Skies as this isn’t an all out thrash attack being a far more varied and well rounded album than expected. Being the purveyors of the use of groove within thrash metal there is plenty on offer. Being from New Orleans this album is chock full of down and dirty swampy NOLA groove which sits perfectly alongside the savage thrash riffing. It is a testament to the strength of the songwriting that these two styles can intermingle together so seamlessly. The album kicks off with My Time which is a definite mission statement from the band being an all guns blazing thrashing assault which is guaranteed to have moshers inflicting injury on each other when performed live.

 This is then followed by the absolutely sublime Asunder which is a filthy groovy riff-fest of a song with bagfuls of southern swagger. A song that is guaranteed to get people banging their heads. Hallowed Sounds is a song that sits halfway between the thrash and southern grooves and is a good indication of how this album sounds with a good chunk of the songs following this formula. There are also a few other all out thrashers such as the furious Beware The Wolf and the absolutely raging Ripping Flesh. The band save the most different and (in my opinion) best songs of the album until last and that is the crushing title track which is a near ten minute opus of melodic southern groove and doom. The album itself sounds huge and crushing thanks to a stellar production by Jens Bogren and the band themselves sound energised throughout with absolutely furious performances from all involved. Guitarists Vinnie LaBella and Marzi Montazeri deal out a barrage of awesome riffs and killer solos whilst the rhythm section of bassist Jason Viebrooks and drummer Sasha Horn pound the listener into oblivion and holding court over all this is frontman Kyle Thomas who dominates with his furiously aggressive yet melodic vocals.

Mourn The Southern Skies is a fantastic return for Exhorder. One or two songs slightly overstay their welcome but there was definitely no weak points throughout the duration. Fans expecting them to pick up exactly where they left off in 1992 may be a bit disappointed but I’m glad Exhorder haven’t made an album to please the old school fans but have made the album they wanted to make in 2019. The results speak for themselves as the band sound invigorated and like they had a hell of a time writing and recording this awesome album. Welcome the fuck back Exhorder. 9/10

Dragonforce: Extreme Power Metal (earMusic Records) [Matt Bladen]

So eight albums into their career and Dragonforce don't show any signs of slowing down (at least not in the notes department). It's their fourth album with Marc Hudson on vocals and it will be their last album to feature long time bass player Frédéric Leclercq (who was a major contributor to their previous album) and is a continuation back to the sound they pioneered in their early career which was dubbed 'Extreme Power Metal' (thus this albums title) they have been doing this since The Power Within where they became a lot more streamlined playing shorter songs, however since then their song runtimes have crept back up as founder members Sam Totman and Herman Li trade off with fret wankery. Never fear synth fans though as even though Vadim Pruzhanov is no longer a part of the band the keys are here in massive numbers provided by Epica ivory tinkler Coen Janssen with epic swathes of synths and the obligatory gaming bleeps all present and correct.

Highway To Oblivion kicks things off slow and epic before the booster is pressed and Gee Anzalone begins to blastbeat away as Li, Totman and Leclercq all bring the faster than lightspeed riffs that explode into guitar duels as Hudson gives his best vocal performance of any of his records, he is now 'the' voice of Dragonforce banishing any memories of their previous frontman, as he sings of fire, fury and victory. Cosmic Power Of The Infinite Shred Machine keeps the pace at maximum with it's sci-fi theme and flowing middle section as they go a bit prog, however it's not all pedal to the metal mentalism The Last Dragonborn is an ballad inspired by Asian sounds, the Leclerq penned Heart Demolition is a bouncy AOR number that breaks down into some virtuoso guitar playing, the 80's AOR continues on the slick Strangers. Troopers Of The Stars (a song about the seminal Starship Troopers) brings back the classic Dragonforce sound, although with some Gothic piano, it goes on from there until the final two songs really shake things up with the bagpipe laden Remembrance Day and a frenetic cover of My Heart Will Go On, yes the Celine Dion song, which is such a stupid idea it actually works, especially the 8-bit intro!

Dragonforce do Dragonforce, nobody else ever really comes close in terms of the originators of 'extreme power metal' Totman and Li are the cornerstones of the band and while the rest of the line up is fluid with these two on board they will never stray too far, for many they will always be 'that band from guitar hero' but personally they have always been a band I really enjoy and Extreme Power Metal is yet another great Dragonforce album. 8/10

Obsidian Tide: Pillars Of Creation (Self Released) [Matt Bladen]

Formed by Tel Aviv in 2012 by guitarist/vocalist Oz Avneya, Obsidian Tide are progressive metal band with death, folk and classical influences. Now as they are from Tel Aviv you may think that they would incorporate the sounds of Orphaned Land, drawing on their Middle Eastern influences as an addition to the progressive metal sounds. You would however be wrong, as Obsidian Tide owe much more to the Swedes especially Opeth a band who they are obviously heavily influenced by. Now their sound runs from Orchid right through to Sorceress (and probably In Cauda Venenum as well), bringing those sonorous, soulful clean vocals mixed with the harder edged death growls on a musical palette that has numerous textures to it.

Haunting post-metal ambience, some keyboard driven classic prog sections, technically precise riffs, heavy metal fury and even some jazz flourishes. It's obvious from the opening title track that it's Mr Akerfeldt and co that are the main style here, the cleaner off kilter hypnotic opening moves into the heavier aggressive sounds of the chorus, where we get that darkness that creeps into second song Seven, which could have come from Ghost Reveries and has some really classy jazz flute and tabla drums. Along with Oz, Obsidian Tide is made up of Erez Nadler (drums and programming) and Shachar Bieber (bass and harsh vocals) so they are a trio. I'll let you read that again. This album was created by a trio! A 55 minute conceptual piece that also features some guest playing from Symphony X's Mike LePond was written and produced by three men with the assistance of Jamie King for mixing and mastering.

As I said there is a very Scandinavian sound here but it's not all Opeth, there's the gothic resonance of Katatonia on Kings Of A New Realm which opens with some solitary strings before it ramps up again, however the grand piano in the middle section of the song should be jarring but sits comfortably in the diverse nature of the bands sound, as the bass comes back in with some jazz fingerstyle playing. There's also some Enslaved heaviness on Hireath which evolves into a Camel song with more 70's prog overtones. They do spread out to the USA for the complex solos and riffs of Cynic. Pillars Of Creation is an album that is well sequenced (one of my pet peeves is an album that doesn't flow) you can hear there has been time and attention given to it. On The Harbinger And The Millenial Vengeance they bring everything together in 7 minute plus opus that features Mike LePond though it is followed by the explosive 11 minute Magnanimous which has acoustic scrubbing and even a sax break. Pillars Of Creation is a truly excellent album that will keep your excitement at a high level for In Cauda Venenum, however it also lays down the gauntlet for the Swedes. 9/10

Hope Drone: Void Lustre (Moment Of Collapse Records) [Val D'Arcy]

Void Lustre is the latest musical output from Australia's Hope Drone and comes four years since their first album Cloak Of Ash. Black Metal isn't something immediately associated with Australia by most people, save perhaps the few well known acts such as Destroyer 666 (laxly included in the genre), Woods Of Desolation and more recently, Advent Sorrow. That said, Australia's extreme metal output is growing particularly in the blackened death and death metal scenes. Nonetheless, for the most part it's a black metal album, with enough of trademarks to allow it to pass as such; tremolo picking, blast beats, minor keys and depressing themes. That would be a fair categorisation at a high level, but it's a little more complex than that. The vocals are more blackened death with even some hardcore influence. There are regular helpings of atmospheric and post black portions along the way too, which do affect the overall sound of this record, resulting in it being something of an ugly duckling. That's not to say its lacking in self awareness, but it certainly doesn't fit in. At over an hour, this is a long album and it's by no means an easy listen, it requires a degree of both concentration and stamina. The words void and drone are both fitting here, hope and lustre maybe less so; its an overwhelmingly sombre record. The extended post black passages are introspective and at times desolate.

There's a synthetic echo that comes and goes throughout that doesn't quite allow the sporadic returns to traditional black metal to achieve anything that comes close to optimism or even real aggression. Rather, these heavier passages feel emotionally more akin to outbursts of desperation than anything else. The third track, In Floods And Depths is one such interlude and a personal favourite of mine, a beautiful mix of deep, rich melodic riffs and blast beats, punctuated with high pitched, reverberating tremolo picking and intermissions of post black respite; a concentrated distillate of the whole. Interestingly, I listened to Void Lustre on a sunny Friday morning and a rainy Monday morning with distinctly differing experiences. Having struggled to connect with each other on the Friday, emotionally, I was glad to have revisited three days later. The despondency of this album had something of a catalytic effect, triggering a reaction that fused together the grey, misery of the weather and my own sense of hopelessness in returning to work after a weekend at home. I wouldn't be so dramatic as to claim this album to be the soundtrack to despair but aligning it with your own negative associations does bring out the best in it. Put on your moody face and give it a listen. 6/10

A View From The Back Of The Room: Tomb Mold (Live Review By Paul Hutchings)

Tomb Mold, Ritual Necromancy & Of Feather And Bone, The Exchange, Bristol

Hailing from Canada, death metal exponents Tomb Mold have blasted onto the scene with all the decorum of a charging rhino. Three full-length releases in three years as well as an EP puts these guys in the prolific camp. Not only is their output regular, it’s also some of the best death metal heard in years. With only two UK gigs on their European tour, this was a night not to miss and it proved to be exactly that. By all accounts opening band Slimelord from Leeds were a good start to the evening. Apologies to them as we arrived too late to catch their haunting doom-soaked death metal. A quick listen to their latest release The Delta Death Sirens supports the view of the room and they will be on the list to catch next time around.

We were firmly in place for Denver trio Of Feather And Bone (8) whose 35-minute set of hardcore grind death and crust pulverised the healthy crowd gathered expectantly in front of them. There is none of the flouncy intro tape malarkey with death metal bands, they finish their tuning and checks, look at the crowd, say “ready” and proceed to destroy. Of Feather And Bone formed in 2012 and have a couple of EPs and long players to their name, the most recent the 2018 release Bestial Hymns Of Perversion. There’s not a lot to watch; the blur of drummer Preston Weippert, the roar of vocalist and bassist Alvino Salcedo and the thrashing of guitarist and vocalist Dave Grant is about the sum of it but you don’t need a lot of movement as you are required to hold all your senses in check to fend of the pummelling that this three-piece create. From intense full-speed thrashing to slower paced bludgeoning groove, Of Feather And Bone simply crushed it. In a flash it was over, but hell of a start and the internal organs were already asking “what the hell is going on dude?”

If my spleen was weeping after Of Feather And Bone, it was positively screaming after the 40 minutes of Portland’s Ritual Necromancy (8). Putting aside a few microphone issues, bassist and vocalist Justin Friday, drummer Kevin Schrentelkamp and more recent additions Jay Wroth and fellow guitarist Jonathan Quintana delivered an equally punishing set. Friday is captivating to watch, the man disappearing into a trance like state as he delivers gruesome low and unintelligible roars and grunts, his eyes rolled back, and his frame quickly drenched in sweat. Down tuned, dirty and extremely sinister, Ritual Necromancy accelerated quickly before reaching their masterpiece, Disinterred Horror, the title track from their 2018 sophomore release which contained brutal fast sections and large slabs of slow, crushing passages. It was an intense experience and standing two foot from one of the speakers meant I was trembling uncontrollably by the end of their set, purely due to the vibrations summoned from the demonic summoning that the Portland outfit had seen fit to spew out.

With such a strong undercard, you’d have been a brave person to suggest that Tomb Mold (9) would get a higher rating than their American brothers but the Canadians simply raised the bar another level with a display of power and control which ensured neck ache, bleeding ear drums and a lot of smiles. The band combined tracks from this year’s excellent Planetary Clairvoyance with 2018’s Manor Of Infinite Forms, the EP Cerulean Salvation and their 2017 debut release Primordial Malignity. Unbelievably, given the force and complexity of the drumming involved in Tomb Mold’s music, drummer Max Klebanoff also delivered some of the gruffest death metal vocals heard for many a moon. This left the front of the stage open for bassist Steve Musgrave, flanked by the twin guitars of Derrick Vella and Payson Power, and the trio gurned, grimaced and scowled their way through the 50-minute set. By the time the band left the stage, the crowd were calling for more but also reeling from a three-hour assault from some of the finest death metal Bristol has heard for some time. Full marks to the excellent audience who filled the venue, to the organisers for getting this festering heavy beast of a package to a show outside of London, and to the bands for playing blinding sets.

Reviews: Year Of The Goat, High Command, In Search Of Solace, Bearers (Matt & Liam)

Year Of The Goat: Novis Orbis Terrarum Ordinis (Napalm Records) [Matt Bladen]

The Swedish occult hard rockers return with their new album of sinister, gothic, melodic rock anthems. It's got slow burning magic on Subortus with a triple guitar attack, the songs sound huge as the guitars jangle with gothic darkness on top of a crunchy rhythm grooves. It carries the flame of YOTG's previous records with that mix of Blue Oyster Cult, Pentagram, Wishbone Ash and The Cure. You could say it's Ghost but YOTG have been doing this longer and better in my opinion for ages. Luxuria is a galloping rock anthem reinforced by organs which do actually come into their own on the haunting and soulful Ira where the bands main weapon of Thomas Sabbathi's fantastic vocals. He is the key to this bands sound with a wide range and powerful delivery that has him emoting like he's in a Steinman project on Ira which is a stirring mid album progressive piece. It's followed by the psych rocker in the shape of the immediate Superbia. Novis Orbis Terrarum Ordinis is a stylish album that is drenched in sorcery and black magic that tunes into the radio rock appeal with some prog edges especially on Subicio which has some keening female vocals meeting with Thomas' as it evolves into a intense guitar solos as it slows into the crushing final part. An album that is a musical journey from beginning to end, light the incense, cast a spell and welcome the Year Of The Goat. 9/10

High Command: Beyond The Wall Of Desolation (Southern Lord Recordings) [Matt Bladen]

Well this is a properly good heavy metal release. Guitarist Ryan McArdle and vocalist Kevin Fitzgerald formed the band trying to make the gnarliest, heaviest metal album they could prompting the creation of the New Wave Of Worcester Heavy Metal, (that's Worcester Massachusetts not in the UK). Have they succeeded? Well as the chainsaw riffs peel the skin of your face, you can shout hell yeah! A mix of the second thrash scene hitters such as Testament, Exodus and Death Angel. High Command are and aggressive beast coming from the Bay Area and Punk scenes with blistering solos, break neck riffs, barked vocals and of course numerous dive bombs, there's very little let up save for some groovy stomping such as on Merciless Steel and Forged To Kill which will just beg for some pit action. Kevin Fitzgerald's lyrics are based heavily in the fantasy realm with nods to the world's of George R R Martin and Frank Frazetta. This is an album that is more than the sum of its parts as Devoid Of Reality segues into a dramatic orchestral piano piece before the chainsaw guitars come back with a vengeance. For a debut release Beyond The Wall Of Desolation could put High Command on the par with Power Trip in terms of modern thrash bands that have that vicious crossover appeal, it could be one of my albums of the year. 9/10

In Search Of Solace: Enslaved To Tragedy (Nuclear Blast) [Liam True]

Making Metalcore standout in this day and age is difficult as you’re always going to get the bland bands who just have no flair or motivation in their music. In Search Of Solace however are taking Metalcore and pushing the boundaries of Metalcore. Being destructive with stomach-churning breakdowns, eardrum-shattering vocals. Most of the music in this scene is pretty basic and generic, but ISOS have created a different sound, being technical yet true to their roots, it’s a brutal assault that makes you crave the following song to see what kind of innovative sound they’re going to pump out. All in all the band produce a new sound to the stale genre while making the Metalcore as prominent as it can be. 8/10

Bearers: Inhumation (Self Released) [Liam True]

Some fantastic Metalcore from Glasgow. Through 10 songs and 40 minutes the Glaswegian quintuplet group push out some of the best and most unusual time signature changes so far this year, but pull it off so well that the record as a whole feels like one big experimentation. With crushing breakdowns and larynx shattering vocals. Not to mention the entire album is a mosh pit inducing frenzy of Metalcore madness. Throughout the record you can hear influences from other bands, but mainly I caught influences from fellow Metalcore outfit Oceans Ate Alaska, with the unique guitar tones and hard-hitting drums. Not as technical, but they do this so simply that it doesn’t need to be technical at all. There’s not really a stand out song to me, but the most energetic and adrenaline building song has to be Neurotic as you can just feel the intensity and energy from a packed-out venue bursting through the speakers. Some good unique metal. Well done guys. 7/10

Reviews: Nightstalker, Planet Of Zeus, Night Resident, Synteleia (Reviews By Matt Bladen)

Nightstalker: Great Hallucinations (Heavy Psych Sounds)

The leaders of the Greek stoner genre (though they reject the term) return with their highly anticipated new album Great Hallucinations. Formed in the same year as seminal black metal act Rotting Christ, Nightstalker are still led by singer (then drummer) Argy and they have risen from the Greek underground into the grungy, funky, heavy riffing beast they are today. Numerous line up changes have come to the bad but since Dead Rock Commandos the band have become the leading light in the rock landscape in Greece while also extending their reach across Europe playing at numerous festivals every year and even headlining in their own country, most notably this year's Street Mode Festival in Thessaloniki.

So what of their eighth record? Well it opens up with some Monster Magnet grooves which sees Argy's voice distortedly shouting over some psych drenched riffs and distorted basslines from Tolis Montsios and Andreas Lagios. Things get slower with the blissed out Sweet Knife as some open chords as Argy cries out with the "Can't sleep at night" refrain when the thumping bass kicks in again built on Dinos Roulos' expressive drumming as it builds into more big riffs, Sad Side Of The City is a slow burning number built on a repetitive guitar sound and chorus, it moves into Seven Out Of Ten which is the most Sabbathian (it's a word) song on the record sounding so similar to the Birmingham originators it's uncanny, the spirit of Sabbath also looms heavily on Cursed which has a big bas throb and some tasty guitar work.

Born of the sounds of the British inventors of heavy metal while also moving through desert rock soundscapes (title track) and adding their own Athenian grit, Nightstalker deserve all of the plaudits they get. With this eighth record they have shown this yet again so maybe it's time the UK gets a taste of these Hellenic hard rockers with a tour. 8/10    

Planet Of Zeus: Faith In Physics (Heavy Psych Sounds)

The continuing evolution of Planet Of Zeus comes with their fifth album Faith In Physics, they are a band that have always had one foot in the political but this record amps up their socio-political ideology as it serves as "a pamphlet about political, religious and digital-era extremes that stifle freedom of speech worldwide these days." It's a theme that can unite anyone listening to this album using the groovy stoner riffs and clever but singable lyrical style of Clutch (All These Happy People) mixed with the defiance of Rage Against The Machine (Revolution Cookbook). There is a lot of different sounds here but they rarely stray outside of the highly charged stoner rock anthems full of thick grooves, something they have always excelled at.

But on Faith In Physics they have gained a level maturity that has been creeping in from their previous album, it's taken them from snot nosed stoner ragers into a more savvy heavy unit. These Athenians crank out the riffs that move from Gasoline which has the rampaging of Monster Magnet's Powertrip to the psychedelic Let Them Burn a slow, open chord driven monster that crawls along in a haze and the explosive On Parole which takes things into MC5 style of elongated guitar freakery. Babis Papanikolaou, Stelios Provis, Giannis Vrazos, Serafeim Giannakopoulos have crafted another high calibre slice of heavy rock music that brims with passion and a take no prisoners attitude.

The album ends with it's slowest song King Of The Circus which could be a song by The Doors such is it's waves of wooziness and long instrumental passages. Faith In Physics is yet another great album from Planet Of Zeus, the Athenian pack are back with their most 'adult' album yet! 8/10

Night Resident: Self Released (Moon Rapture Records)

Do you remember when Ghost were a heavy band? Pepperidge Farm remembers...as do we at MoM. Well Night Resident obviously also remember as their sound is is reminiscent when the nameless ghouls and Papa played doomier sound but with hard rock edges. Akin to bands like Graveyard and Uncle Acid these Athenians have made an album of blatant Sabbath and Candlemass worship with echoed vocals and thick riffs are often fleshed out by some folky acoustic segments. This is a debut record for the band and it's brimming with gloomy rock goodness, drawing on the dark occult for Bright Red Eyes while bringing the heavy to Moon Rapture and After The Fade. These are songs that you can shout along to with the rumble along with occult touches throughout it's pretty standard but enjoyable enough if this kind of doom rock is your thing. 6/10

Synteleia: Ending Of The Unknown Path (Hells Headbangers Records)

Formed in 2015 Synteleia are another Greek black metal band and unlike every other Greek metal band where the Orthodox church features heavily in their lyrics, Synteleia instead are all about Horror, Lovecraftian horror to be exact focusing on one of The Great Old Ones Chthulhu. With the opening Daemonica Infernalium the band immediately attack with blast beats and ferocious vocals that are barked down the mic. It's got a production sound of those early Rotting Christ and Varathron records along with the more cinematic style of their later works. This is relentless battery from  moment one as the stories of the monster from the abyss are told against classic sound Hellenic black metal.

Tracks such as Dark Summoner Of Yog-Sothoth have more of a grinding groove to them with Ithaqua, Thy Mighty Storm having fewer blast beats and digging a more ominous trench. It's Hellenic black metal 101 drawing from all the eras, when it was raw and visceral, when doom and death creeped in and more recently when symphonic and classical sounds, included here is a soprano. This album builds as it progresses opening up into a very strong black metal album, expertly played and crafted black metal. 7/10