Another Point Of View: Sunn O))) (Live Review By Charl)

Sunn O))), SWX Bristol

Having been a fan of Sunn O))) since the beginning, it may come as a shock to most that this is the first time I've seen them live. Two and a half hour performance. My fucking God. It's honestly difficult to review their live performance. Perhaps if you were in a sweat lodge with a shaman chanting over you with two speakers attached to your face, you'd understand. I was disappointed on learning that the gig had been moved from Trinity centre to SWX, but I can now see why. Not only the demand for tickets, but Trinity's roof would more than likely have crumbled to bits.

Sunn O))) are a sonically challenging experience live, and the only way to describe that it *is* an experience. Ever breathe a frequency? Fuck, I have now. My eyeballs shook and I can honestly say I cried like a little bitch. I'm not entirely sure what emotions I was having. Excitement mixed with fear? Joy? Arousal? Possibly all of these. At one point the sound is so thick I can feel it pushing against my skin, forcing my head down. Sexy drone suckjob. Glancing about the immediate area, all I see is heads bowed and hands clasped in front of people, like at a sermon, and it honestly does feel like some sort of ritual.

Atilla gutturally invoking and gesturing, Greg Anderson and Stephen O'Malley shrouded in smoke in the background, raising their arms and crashing them down brutally upon their bass. I occasionally catch a glimpse of Anderson's face and by God if the man isn't grinning with pleasure at the crushing noise he's causing. Bless. There are several 'costume' changes by Attila, starting out relatively normal .. cloaked up, cloaked up with a melting face (unless I was tripping balls from the vibrations, entirely possible) and signalling the end of the set, what appears to be a gimp statue of liberty, covered in glass, spikes and lazers. It honestly comes as no surprise. And then it's over. Smiling, they bow, wave and leave. Two and a half hours has felt like mere minutes. 

Perhaps I went into some sort of different realm at some point. I felt like I had my soul well and truly fucked by vibrations and noise. My nose was leaking a tiny amount of blood and my legs feel like jelly. I needed a moment to get my bearings. Everyone around me looked in a state of confusion or near catatonia. What's just happened? Was something fucking special, that's for sure. 10/10

Note - keep the earplugs in. Out of curiosity I removed mine for less than a second and thought my head was violently collapsing inwards. Which I'm pretty sure it was.

Reviews: Riverdogs, Scardust, Next To None

Riverdogs: California (Frontiers)

The Riverdogs were originally formed in in Los Angeles at the end of the 80's the band are notable in that they managed to tap the then Dio, ex-Sweet Savage, ex-Whitesnake guitarist Vivian Campbell to produce their EP, going one better he joined the group only leaving when he became a part of Def Leppard in 1992 replacing Steve Clark. The band split up in 1993 but reformed in 2011 with three of the founder members; Campbell, bassist Nick Brophy and vocalist/guitarist Rob Lamonthe joined by the bands second drummer Marc Danzeisen, this is the line up that has continued through to this their fifth album coming six years after their previous effort. Obviously the gap is due to other commitments of Campbell but it has made the band rediscover their roots tapping into the sunny blue-driven hard rock heard on their debut.

The songs on this record shimmer with a blues rock base that moves into melodic rocking, in fact with the intricate leads Campbell lets loose on American Dream and The Revolution Starts Tonight paired with Lamonthe's soulful vocals means they will appeal to fans of their label mates Mr Big as it's the sort of virtuoso-yet-radio friendly music they have always delivered.  The blues is plainly the major influence to tracks such as Something Inside and Welcome To The New Disaster while Golden Glow is the de-rigueur ballad.

The Heart Is A Mindless Bird starts out slowly and ramps up in the end into a guitar solo masterclass that continues into the hard rocking Searching For A Signal. California is brilliant album from a band who many may have thought had put their glory days behind them, I hope the busy schedule of their lead guitarist doesn't get in the way of another album or some live shows as Riverdogs are a band right up my street. 9/10

Scardust: Sands Of Time (Self Released)

Israeli progressive metal act Scardust used to be known as Somina but after their formation they discovered a band had trademarked that name they changed it to Scardust (which I think is better) but anyway enough about the history lets get down to the record itself. Scardust are female fronted with Noa Gruman having classically trained vocals that are very strong and have a wide range moving between soprano highs and guttural roars, her vocals are a revelation, better than many of her higher profile contemporaries. She is complimented by a choir and orchestrations and the band themselves play highly technical progressive metal with odd time signatures, frequent changes, a thundering rhythm section (with a drum solo), complex guitar and bass riffs (and solos) and melodic keys.

Their music is busy and incredibly well performed, the album opens with a five part title track concept which like all of the songs on this record were written by Noa along with the bands 'ghost writer/composer' Orr Didi and they have really captured the cinematic nature of Epica and Devin Townsend. The concept starts things as they mean to go on, from the Overture that sets the scene right up to the final epic part Sands Of Time it's an exercise in the bands obvious talent, outside of the concept Out Of The Strong Came Sweetness is a tough but operatic duet, Arrowhead more straight ahead prog metal (with a bass solo) and Queen Of Insanity takes things back to the symphonic heaviness of Epica. You can hear that Sands Of Time is a good album from the first few bars however only after numerous listens can really hear how good it is you pick up every nuance, every time signature change and you are continually astounded by Noa's insane vocals. Israel has great pedigree with prog metal and Scardust are the latest act to enter the fray bringing a superb debut full length with them. 9/10

Next To None: Phases (InsideOut)

"Watch this space" that's how I ended my review of Next To None's debut album in 2015, the young band had oodles of talent and also name recognition due to drummer Max Portnoy but their album only showed glimpses, they were a little rough around the edges but everything was in place for them to both improve and explode as a new name in modern day progressive metal. So album number 2 is finally here and have the band done this? Well the first tick in the box is that they have maintained the same line up with Portnoy Jr behind the kit again with Derrick Schneider on guitar, Kris Rank on bass and Thomas Cuce on keyboards and lead vocals, this time they have drawn on their touring experience and time as band to craft an album that has given them a definitive sound rather than just a result of their influences, which was one of the things that let them down on their debut.

Here they take their own path, 13 opens the record with a haunting solitary piano piece before the downtuned heavy riffs kick in, it builds and builds getting faster as the piano runs increase, then it explodes into a percussive palm muted riff Slipknot would proud of. So ok their influences are still there in droves but I hoped they were being used to add familiarity rather than complacency. The Apple starts with a drum break from Portnoy before bringing in more palm-muted guitars and even some scratching which I thought went out of fashion in 2001 and once again it's Slipknot, by Beg their seems to be a theme developing and the nine man wrecking machine may have to launch an investigation into copyright infringement. Alone takes us away from Iowa and into the realm of Tool with a moody nine minute piece punctuated by screaming parts that ruin it for me.

The virtuosity is still here, the four of them a incredible musicians there is nothing that can diminish that but this album just sounds like Slipknot there is very little variation, Thomas' vocals have changed but not for the better now he screams well but his cleans are of the angsty pop-punk style which really annoys me. Phases for me doesn't see Next To None improve for me, the musical performances are of a high quality but the songwriting grew stale in 2008. Next To None? In Taylors shadow more like! 6/10

Reviews: Manilla Road, Pristine, Nekromant, Adrenaline Mob (Reviews By Paul)

Manilla Road: To Kill A King (Golden Core)

Manilla Road have been about in numerous guises since the late 1970s. The sole remaining original member, Mark "The Shark' Shelton continues to drive the band forward. Now, I'm not particularly familiar with their sound, but one listen to their latest release, To Kill A King provides immediate confirmation. The band sit firmly in the Cirith Ungol/Manowar epic fantasy metal camp. The title track opens the album, a soaring riff setting the scene before the song commences its 10 minute journey, a calm setting belying the rage to come.

Time changes a plenty, rolling drums and a clipped vocal style narrating the story before Shelton's superb guitar work takes centre stage. Conquerer is almost BLS in style and delivery whilst The Arena is a thrashy power trip. To Kill A King comprises many elements of the metal scene, thrash, progressive and old school. It's certainly worth catching a copy of a band who have been on the scene for over 40 years. 7/10

Pristine: Ninja (Nuclear Blast)

First impressions count. Norwegian psychedelic outfit Pristine create a good one. Opening album number four is You Are The One, and immediately comparisons are made with their neighbours The Blues Pills. Ironically Pristine have been around much longer, and their blend of alternative rock, blues and psychedelia is delivered incredibly well. This is a band that has been together for some time and has gelled well. Lead singer Heidi Solheim is the driving force, being the main writer and lyricist since the band's inception.

Tracks like The Parade and the Hammond heavy title track would warm the coldest heart with their honesty and passion. Solheim possesses hell of a voice, very much in the Elin Larrson and Lynne Jackaman style. It's not all blues rock though, with some of the more delicate tunes such as the delicious Forget which change tack completely amongst the most memorable. A discovery this year for sure. A real find. 8/10

Nekromant: Snakes & Lies (Transubstans Records)

Having listened to about three minutes of Snakes & Lies was ample time to identify yet another Swedish stoner doom outfit. Very much in the vein of The Sword and many others, the raggar-doom, as it's categorised is the product of a powerful trio, Adam Lundqvist, Mattias Ottosson and Joakim Olsson. Previously known as Serpent, there is a huge Sabbath/Pentagram sound on several tracks including opener Funeral Worship with a filthy riff which the dark lord Tony Iommi himself would enjoy. There is much to enjoy here if you like all things Sabbath, such as the riff from A National Acrobat which has a fleeting appearance on the rampaging Mardrom. Ultimately, it's the final track, Spelmannen, sung in their native tongue which provides the standout song on an album that is well worth a listen to. 8/10

Adrenaline Mob: We The People (Century Media)

This is album number four by the supergroup originally formed by Symphony X frontman Russell Allen, Mike Portnoy and guitarist Mike Orlando back in 2011. The current line up includes Allen, Orlando and new members Jordan Cannata on drums and bassist David Zablidowsky. 13 tracks of hard, heavy and bombastic American metal, with a massive sound which allows Allen to show his chops. It's hard radio friendly metal in its composition with stomping bass lines, shredding guitars and angst ridden vocals. Orlando is on fine form, especially on the title track. Easy listening if you like your metal hard, heavy, dripping with hooks and not too complicated. 7/10

Reviews: Mr Big, The Midnight Ghost Train, Dead Soul Communion

Mr Big: Defying Gravity (Frontiers Records)

They're back, Gilbert hits the riff the immortal line of "OK We're Rolling" is sampled and like that Mr Big are back with Gilbert and Sheenan trading fleet fingered leads on guitar and bass respectively, Pat Torpey still keeps the funky beat and Eric Martin's voice hasn't diminished at all, however there is a little bit of reserve on Open Your Eyes, it grooves but it doesn't instantly hit you like the title track that follows it, swap these two songs around and the record sums up everything Mr Big can do, yes they are always going to be defined by 'THAT' song (much like Extreme) but I've always loved how Mr Big can easily pair accessible Californian radio rock with technical prowess most bands would never be able to achieve.

As I've said Eric Martin can still belt it out, his voice is unique and soulful, Gilbert knows when, to coin his phrase, shut up and play yer guitar, adding flourishes in the main riffs then letting loose in the solo sections, the same can be said of Billy Sheenan who is not your average bass player not content to sit and pluck he is constantly trying to out virtuoso Gilbert even getting his own solos on Mean To Me. They bring New Orleans soul to Everybody Needs A Little Trouble Gilbert indulges his Beatles fetish on the breezy Damn I'm In Love Again, the songs on the record are your normal Mr Big fodder with rock, soul, funk and even pop all catered for.

The worst of the bunch though is the dreadful Forever And Back followed by Shes All Coming Back To Me Now, it spoils the record a bit for me and while Mr Big will be able to revisit their glory days of their heyday, something they poke fun at on the heavy rocking 1992 where they lament having a hit single, they still produce quality music and their more recent output is better than anything they did after 1997 until their breakup in 2002. Mr Big are still Mr Big, yes we are still rolling but the songs remain the same. 7/10       

The Midnight Ghost Train: Cypress Avenue (Napalm Records)

I've heard a lot about Buffalo, NY natives The Midnight Ghost Train but I've never listened to any of their albums, so it's about time I rectified that starting with their fourth album Cypress Avenue. It's an intelligent record that straddles stoner, sludge, blues, funk and classic rock, this three piece have their influences with Sabbath, Kyuss with Brandon and Mike thundering in the engine room, there's the spirit of old bluesmen like John Lee Hooker and Lead Belly imbuing Steve with a voice that sounds like he has eaten gravel and washed it down with whiskey as he plays the huge riffs on Tonight and the Clutch-like Red Eyed Junkie Queen.

As the album progresses they shake up their sound with the parping horns on The Boogie Down which pairs funk with NY street rap from Sonny Cheeba of Camp Lo. They dabble with psychedelic country on The Watcher's Nest, New Orleans swing on Break My Love, a depressive, sparse, blues shuffle on Black Wave and creeping blues on I Can't Let You Go. The Midnight Ghost Train are referred to as metal band but on the back of this record I'd say that they are so much more, full of metallic bluster they also are rooted deep in the delta blues and it makes for a very expansive, engaging listen. 8/10

Dead Soul Communion: S/T (Self Released)

Dead Soul Communion is the new project of Devilment founder Daniel Finch, that project has continued with vocalist Dani Filth, but Finch has gone on to pastures new, Dead Soul Communion are a different beast to Devilment, this is melodic groove metal with power clean vocals working with harsher roars. Musically Finch and his ex-Devilment bandmate Dan Jackson are the riff machines behind this record but with Kev Jackson (ex-Fifth Season) and Simon Dawson (Steve Harris British Lion) in the rhythm section the album has a thick heavy groove throughout it that reminds me of Machine Head, this comparison is due in part to Edwin Mascorn's vocals sounding remarkably like Robb Flynn, check out The Last Grains Of Sand and it could easily have been on The More Things Change.

What sets the band apart from the large amount of groove metal acts out there are the bans use of synths, these I believe are from multi-instrumentalist Paul Jensen who brings the orchestral layers on Masked Deceiver, Ghosts and Suicide Lullaby it's these parts of the bands sound that counteract and in my opinion compliment the massive riffs. Finch has dabbled again with a lot of the sonic experimentation present on the Devilment record but I prefer Dead Soul Communion mainly due to the vocals, as I've said before that Filth's vocals really grate on me, this is modern metal with a progressive edge and it's a very strong debut from Finch's new project. 8/10     

Reviews: Gods Of Silence, Wraith, Ward XVI

Gods Of Silence: Neverland (Rock Of Angels Records)

Gods Of Silence are a melodic metal band based in a Basel, Switzerland, their musical influences are clearly audible from the off with Stratovarius, Sonata Arctica and even Edguy all equally comparable, heck I'd even go as far to say Unisonic who's Dennis Ward produced the album with his usually quality. The band are five piece with solitary guitarist meaning the bass playing is more like a rhythm guitar and the keys taking a prominent role still the band have a heaviness that is offset by their excellent melodies clean guitar solos and intricate keyboard patterns. As is only right for a band such as Gods Of Silence the quality rarely drop the orchestral Intro builds up the cinematic tension meaning Army Of Liars can kick things off with a chunky riff and drumbeat powering it but this like a lot of the record twists and turns with progressive elements creeping in here and there.

The orchestral elements continue throughout, Against The... is more AOR styled and lets Gilbi show off his vocals, they get heavier and proggier on the creeping Neverland, in fact they change styles regularly meaning the songs never repeat or grow stale from the classical touches of Full Moon (which is about Werewolfs) to the careening muscular melodies of the Iced Earth-esque Demons. Neverland is a very strong record from this Swiss metal band, for fans of progressive melodic metal it's a real treat. 8/10 

Wraith: Revelation (Ice Rain Records)

Let's party like it's 1989! This was when Wraith's debut EP was released, they were hailed as the newest thing in UK melodic metal/hard rock, they had Lemmy singing back up vocals on that record and they were affiliated with both UFO and Waysted. However with many of hard rock bands facing the onslaught of grunge the band split in 1998, joining other projects or opening bars in Spain, guitarist Gregg Russell joining Tigertailz. There was demand for them to reform so reform they did for an album in 2007, since then the drummer they tapped for that release succumbed to cancer and the band stopped again.

Finally the latest chapter was written when they reformed for a one of concert in Nottingham which has led to this record, still led by Gregg and a very tight cast of musicians the band are back with an album of swaggering sleazy mid nineties hard rock, they have a touch of Motley Crue about them, mainly due to the vocals but also in their songwriting check out Under The Hammer which is the ideal track for sashaying in your leather pants and perm. The music is heavier than say acts like Little Angels, with distorted guitars the order of the day, but the band are unafraid of a ballad, Leaving Me Again is very Def Leppard-like and you'll either sing along or you'll want to stab needles in your ears, however they make up for it on No Respect which riffs like a bastard. There seems to be a lot of hype surrounding Wraith and their legacy but you're only as good as your last record and this is solid album. 7/10 

Ward XVI: The Art Of Manipulation (Rock N Growl Records)

Preston act Ward XVI‘s debut album The Art Of Manipulation is a 12-track concept album telling the intraspective story of a female psychopath locked away in a high security asylum. As such it's an avant-garde theatrical record that mixes hard hitting metal with theatrical elements, think Alice Cooper and Wednesday 13 playing songs with Lordi and In This Moment and you're on the right track, layered instruments, hazy psychedelia are par for the course on Take My Hand which explodes into riff heavy thrash, this moves into the the bludgeoning title track and from here the songs become stranger, heavier and more intriguing, The Flight has a pumping synth that is reminiscent of the Mortal Kombat theme, while Crystal Ball is the music to the kind of carnival you'd read about in an R.L Stine book.

As with all concept pieces the songs tell a story with little interludes driving the narrative along, the band take the personalities of the characters with protagonist Psychoberrie on vocals, Lex Whittingham and Dr. Von Stottenstein playing guitar, Jake has drums, Min adds the keys/accordion and Beardy McStumble is the bassist, with all of them taking the roles in the storyline, it's great to hear how they all enter and are even dispatched within the concept. Ward XVI are taking their metal sound to the furthest reaches of it's capabilities, with bands such as Avatar and the aforementioned In This Moment all dabbling with the theatrical and the baroque it's great to hear a British band having the balls to attempt something different. By all accounts their live show is something else, well their recorded music ain't half bad either! 7/10

Reviews: Amplifier, Starsick System, Bloodclot (Reviews by Paul)

Amplifier: Trippin' With Dr Faustus (Rockosmos)

Mixing Soundgarden, Tool, Sabbath and Floyd with a smattering of Oceansize, Manchester veterans Amplifier's sixth full player is a magical release. Mixing the Mancunian indie edge with some of rocks biggest bruisers in style, I even detect chunks of Anderson era Yes in the mix. Opener Rainbow Machine is a kaleidoscope of sound, time changes a plenty, psychedelia mixing with all kinds of rampant movement, Matt Brobin's complex and intricate drumming combining with Sel Balamir's effect pedal.

Amplifier have been around since 1998 and they ooze confidence. Balamir's live use of the pedal is renowned the worlds over and he doesn't let up. The harmonies and supporting vocals are impressive, and it's no wonder these guys have supported such luminaries as Opeth and Porcupine Tree. Freakzone is a joyous rambler possessing a memorable middle eight. Shades of Placebo also surface from time to time. It's lighter than our usual stuff but there is a genuine feel of quality. most of the songs clock in at six minutes plus, but they really do reward the listener.

Kosmos (Grooves Of Triumph) hauls the listener back to the late 1990s, a combination of acid flower power and the Manchester scene, jangling guitars a plenty. It's laden with groove. From here on it's a crazy mix of styles, with fuzzy stoner (Old Blue Eyes), the indie rock of Big Daddy and the Chili Peppers funk of Horse. This is a super album, far left field of usual listening. Amplifier are a really interesting sound. Check them out. Do something different today. 8/10

Starsick System: Lies, Hopes & Other Stories (Pride & Joy)

When you list your influences as Alter Bridge, Shinedown, Sixx AM (yes, really!) and Nickelback then it's a pretty good bet what the sound is like. The sophomore release from Italians Starsick System follows the radio friendly hard rock of those bands to the letter. Big polished sound, chugging guitars, huge drum sound and a Bon Jovi edged vocal that will no doubt appeal to the Planet Rock crowd in spades.

Marco Sandron's voice sounds like a million others, pearly white and sweet as sugar. The guitar work of David Donati slick and competent whilst the rhythm section of Valeria Battain and drummer Ivan Moni Bodin holds things together neatly. It's just a bit insipid and routine. The cover of Chris Cornell's Bond theme You Know My Name is adequate but lacks the panache and style of the original. Decent enough but I'd save the cash for something with more bite. 6/10

Bloodclot: Up In Arms (Metal Blade)

Featuring Cro-Mags John Joseph, the duo of Nick Oliveri and Joey Castillo (QOTSA) and Todd Youth, it's been a long time since the hardcore groove punk metal combination of New York City's Bloodclot hit the airwaves. 2008 to be precise. But that was just Joseph. Up In Arms is fast, frantic and like my best sex, over in a matter of minutes (*Spits out tea* - Ed).

There's no let up, from title track opener, to the one minute Fire or the three minute Siva/Ruda, it's all cleverly knitted together in a maelstrom of chaos. Battery of the highest order and ideal for those early morning commutes when every bastard in the world gets in your face. 'ave it!'. 7/10

Reviews: Stallion, All 41, Gehtika

Stallion: From The Dead (High Roller Records)

High Roller Records only deal in one kind of heavy metal, it smells of leather, wears a bandana and high tops and gets played at full volume with riffs faster than a bullet train. High Roller is home of so many traditional metal bands it's difficult to keep up with them as the nature of the genre, as witnessed by the NWOBHM the first time around, does tend to throw out bands that sound very similar. As such Stallion sound like Accept, early Helloween and Running Wild it's German metal at it's most Teutonic, the band hail from Baden-Württemberg in Deutschland and you can hear those influences come through with the razor sharp riffs weaving in and out throughout the drums rarely dropping below 120 bpm and high shrieked vocals shattering glass if played loud. That's really all I can say about this record, listen to Underground Society and the stomping Down And Out and you'll hear all you need to, although I would say Underground Society would have been better at the end of the record. Still if you haven't moved on from 1985 then Stallion will gallop it's way into your heart. 6/10

All 41: The World's Best Hope (Frontiers Records)

Another month another Frontiers Collab, this time it's Giant and Strangeways singer Terry Brock teaming up with Robert Berry (bass & lead vocals) and Gary Pihl (guitar) of Alliance (Pihl also has time served in Boston and with The Red Rocker Sammy Hagar), rounding out the quartet is drummer Mat Starr who has played for Ace Frehley and Mr Big. Just before I get to the record, let me say just how good the band name and album title is All 41 or All-4(four)-1(one) it really got my linguistic sense tingling. Musically the only thing that will be tingling is if you love a total cheese fest from start to finish, I know a certain Mrs H that will love this (sorry Paul) it's saccharine, with dual vocals of Night Ranger, in Berry they have the ideal counterpoint to Brock's soaring vocals. Take the more melodic parts of Mr Big, add a sprinkling of Van Hagar and Foreigner then set it all to laser guided precision musicianship and All 41 are like a good jigsaw puzzle, it may seem a little twee at first but when all the pieces fit the completed project is actually very satisfying. 7/10    

Gehtika: The Great Reclamation (Self Released)

Gehtika are a blackend death metal group from Coventry but they state their music has a twist, which anyone who has seen them live will attest to. Similarly to their Italian counterparts Fleshgod Apocalypse Gehtika play a furious, style of death metal that brings intelligent lyricism, with a concept and orchestral touches such as piano and strings to their music meaning that the blastbeating, groove heavy, carnivorous riffs are interrupted by the haunting piano or cello break, Existence Or Oblivion has both and the way they are brought into the song they add to it rather than detract.

This isn't Andrew Lloyd Webber though (or indeed Julian) the metal is still the order of the day, Beneath The Catacombs has drumming Behemoth's Inferno would be proud of, the shredded vocals are brilliant as well strong and Satanic just as they should be. Having release two albums, shared the stage with Fleshgod, Crowbar and Raging Speedhorn, played Bloodstock twice this EP shows exactly why the band have had so much success, it's five songs are a brutal caption of Gehtika's brilliance as a band, support the underground pick this up. 8/10  

Reviews: Bare Infinity, Humanity Zero, Barb Wire Dolls

Bare Infinity: The Butterfly Raiser (Blackdown Music)

Athens band Bare Infinity sell themselves as one of (if not the) first female fronted symphonic metal bands in Greece and whether that is true is debatable but there is no doubt that they play some great quality metal that sits in the vein of Nightwish and Within Temptation as Artemis brings in folk elements to the heavy sounds of founding guitarist Thomas Papadopoulos and second guitarist Steve Davis who are aided on this record by bassist Nick Laskos and drummer Simos Lantides, the Within Temptation influence is all over this record with the music straddling Gothic and power metal as the synths and classical elements blend well with the tougher metal sounds on tracks such as In Desertis which is near enough black metal.

Thomas even brings growls on Ashes as Italian singer Ida Elena impresses throughout, her vocal is not a glass shattering soprano but it works perfectly for the music on this record when taking the lead by herself as she does for most of the record or when paired with Max Morton on In Desertis or with Thomas' grunts. The music on this record is varied and engaging with the band unafraid to branch out of their comfort zone with tracks such as Sands Of Time which has metal riffage that is mingled with excellent use of Bouzouki. The Butterfly Raiser is Bare Infinity's second album (their first was in 2009) and it sees the band playing symphonic metal at a high quality, if you're waiting for the next WT or Delain record give Bare Infinity a chance to impress you. 8/10

Humanity Zero: Withered In Isolation (Satanath Records)

Funeral Doom Metal is one of the genres that can be like Marmite, you either love the crushingly slow pace, sandblasted vocals and general sense of dread it gives or you'd rather listen nails on a blackboard. Humanity Zero are now on their eighth album of misanthropic doom/death metal and when Withered In Scars opens the record with blastbeat drums underpinning massive slow motion riffs you know that the Athens band haven't had an attitude adjustment it's still absolutely devastating nihilistic and gut wrenchingly sorrowful, it's also boring, laborious and sounds like it was recorded in a bedroom. Humanity Zero will appeal but for me a band that can make a 9 minute song go by in a flash is doing something write but Humanity Zero make you wish their 4 minute songs were a bit shorter the album doesn't really get out of first gear. 5/10          

Barb Wire Dolls: Rub My Mind (Motörhead Music/Warner Music Group)

Cretan grunge/punk rockers Barb Wire Dolls were personally signed to a record label by Lemmy himself so they have pedigree to live up too. I was expecting the bang crash wallop of 70's punk rock due to the attitude of the album cover. When I pressed play and that's what I got from the opening salvo of Back In The U.S.S.A but then it changes tact as the swinging bass heavy If I Fall is not punk by any stretch of the imagination moving into the pop spectrum a theme that continues on Desert Song and Hole Of Isolation both of which are in the grungy sound of The Pretty Reckless and even Halestorm.

Gold and Call Me (not a Blondie cover) both have the soft/loud dynamics and the punk elements do rear their heads again but not enough, there seems to be absolutely no attitude to this record, nothing at all it's not punk, it's not even rock n roll for the most part. Isis Queen (vocals) Pyn Doll (lead guitar) Krash Doll (drums) Iriel Blaque (bass) Remmington (rhythm guitar) can play and write but what they play and write is uninspiring, uninteresting and a bit crap. 3/10     

A View From The Back Of The Room: Agrona, Levitas, Tides Of Sulfur, Trolls In The Mist & Sepulchre

Agrona, Levitas, Tides Of Sulfur, Trolls In The Mist, Sepulchre, Fuel Rock Club, Cardiff

It's finally come, this was Agrona's first date on their first headline tour of the UK, their main support for the tour was Levitas but in Cardiff they brought on board three more local bands in what was an extreme metal showcase. Each band were individual in sound and style which meant that there was something for everyone, providing you like being shouted at for four hours! With a flagon of Road Crew in hand it was time to head in for the first band

Sepulchre (7) were up first, they are an old school thrash/death three piece from Swansea with riffs galore. They really went at it considering they are an opening act and even though they played to a small crowd which was disappointing as they deserve more, they built a crunchy groove on Kill Me but most of their sound sat in the Slayer/Kreator camp start stop riffs and blitzkrieg soloing with touches of grindcore thrown in for good measure. They were a little chaotic between then songs but hey you can afford to be as an opening band, they get a nod of appreciation too for bringing a white t-shirt in their merch.

Next up came the absurdly named Trolls In The Mist (7) who were a pagan black metal band who based their sound around blisteringly fast riffs and, grunted vocals and songs about orcs, trolls and mythical creatures in general. Painted faces and songwriting put them firmly in the clutches of Kampfar or Drudkh, hell their song Battle Troll was even growled in Orcish. Noisey and evil sounding Trolls In The Mist counteracted Sepulchre's more classic approach well.

After two lots of fury it was time for a more ambient but yet still ground levelling heaviness the four piece of Levitas (8) took to the stage with both guitarist Rhys and bassist Liam providing the vocals the music was atmospheric, bleak and desolate it's keening post metal built on discordant metallic passages and dual roared vocals. The loud/quiet dynamic worked really well with more ambient passages seguing nicely into the blasts of total chaos. Musically they are similar to Alcest or Ghost Bath relying on technical instrumentals and vocals that blended into the chaotic soundscapes as another instrument rather than as an individual element, Levitas were a key element of the eclectic nature of this line up with probably the most varied sound on the bill, as the main tour support they are ideal to setting the scene for the headliners.

However they were not the main support here, the 'special guest' slot was reserved for the aggressive, disenfranchised, nihilism from Cardiff's purveyors of filthy sludge Tides Of Sulfur (8). It's been a long time since I've seen TOS and a while since they played the capital but with a set fulled by plenty of alcohol and massive riffage, they are still as angry as ever supplying plenty of ear splitting riffs throughout with sandblasted vocals barking at the crowd. Their songs can be drawn out and ominous head bangers or faster riff hungry pit inducers, either way this three piece are still one of the heaviest bands I've seen live, TOS hurt after a few songs but it's kind of the point, they rally against society in general, their music is supposed to be combative and it left everyone deafened enough to want more.

With the band's patented smoke machine from hell pumping dry ice throughout the venue, it was time for the Undertaker...no wait sorry that's wrestling, this was the intro for headliners Agrona (9) who have finally decided on a line up after a lot of experimentation, mainly in front of my eyes at the last few gigs, their 7 headed beast of a line up means they can bring dual riffs, dual vocals and keys into the act adding a density to their traditional black metal sound. Drawing the largest crowd of the night, which would only be expected of a headliner at a local gig the smoke was pumping throughout and the band played for their lives. Rampaging black metal was the order of the day, with their line up now set and their performance honed to within an inch of its life the band conducted themselves in a manner befitting a headliner.

Imaterium called for violence and it was given as they furiously shredded their way through their hour long set. The dual harsh vocals both merged seamlessly into a cacophony of noise as blast beats, bass beatings, lighting shredding and symphonic elements crept in. The crowd reciprocated the effort on stage with gratuitous headbanging and some pitting. Once again they brought on Steve Jenkins of Democratus for one song to add clean vocals but a band such as Agrona are one you have to take in the entire package, they are utterly relentless live with only the climaxes of the songs allowing you to refrain from headbanging but soon enough they bludgeon you again. The numerous shows and honed performance mean that Agrona are worthy of a headline performance, they are currently on tour around the country if you miss them then more fool you.

Reviews: Mutation, Decapitated, Kill For Eden (Reviews By Rich)

Mutation: III-Dark Black (Undergroove)

Mutation is the extreme metal side project of Ginger (of The Wildhearts fame) and Dark Black is the third album from the project. For this album Ginger has teamed up with Scott Lee Andrews (formerly of Exit_International) and they have succeeded in creating an album of absolute chaos and total sonic destruction. Dark Black is a combination of noise rock and extreme metal sounding like the most extreme end of Ministry crossed with grindcore.

It is an album which is completely unrelenting and the intensity levels are through the roof but there is also a certain degree of catchiness especially on Irritant. The album also features several guest musicians such as Phil Campbell and Devin Townsend amongst others. Dark Black is my first exposure to the Mutation project and is not a style of music I had associated with Ginger which is why this album is such a pleasant surprise for me. It's not an album for the faint hearted but is one that will appeal to fans of extreme metal and noise rock alike. A truly beautifully abhorrent album. 8/10

Decapitated: Anticult (Nuclear Blast)

Poland's Decapitated have been pushing the limits and sticking their middle fingers up at the so called rules of death metal for 21 years and continue to do so with their seventh album Anticult. First off if you don't like the direction the band have been taking since their reformation in 2009 then you are not going to like this album as it strays further and further away from pure death metal of the early albums. Decapitated build upon the changes they made to their sound on previous album Blood Mantra and take it even further displaying a far more streamlined sound with further emphasis on groove, simplicity and (to the horror of death metal fans everywhere) melody.

A far cry from their technical death metal beginnings. Despite this new approach the music has lost none of its ferocity with songs such as Kill The Cult, Anger Line and One-Eyed Nation still having the ability of reduce your neck to rubble. Old school Decapitated fans are no doubt going to find this album disappointing but this is a change that has been developing since the Carnival Is Forever album so should really come as no surprise. that with this new sound Decapitated have lost a lot of their own identity now sounding more like an extreme metal Lamb Of God. There's still plenty to enjoy here though. 7/10

Kill For Eden: Petty Crimes (Self Released)

Kill For Eden are a London based hard rock band and Petty Crimes is their self-released second album. Kill For Eden are not a band I had heard of prior to this review and reading up on them they sounded like an interesting band and something definitely out of my comfort zone. There are a myriad of influences apparent on this album from classic rock to contemporary hard rock to modern pop music to pop punk. There are many different sounds and styles to hear on this album which is a positive in that it keeps things varied but a negative in that the album feels rather disjointed.

The songs that work the best for me are the harder more driving songs such as Give In To Me and Toe The Line whilst special mention must go the blues leaning Halley's Comet which features guest vocals from the legendary Doogie White. Songs such as Woke Up Alone and Love You So are far too on the pop side of the spectrum for my tastes and leave me completely cold but thankfully this type of song doesn't dominate the album. The band put in impressive performances especially frontwoman Lyla D'Souza whose powerful voice definitely carries this album.

Petty Crimes is a decent hard rock album which works best with it's more classic rock and hard rock leaning songs. It is let down by some truly horrible songs which stray into pop territory for my liking. 6/10