Reviews: Greta Van Fleet, Nothgard, Windhand, Oracle (Paul H & Matt)

Greta Van Fleet: Anthems Of The Peaceful Army (Republic Records) [Matt B]

This was a difficult album to review there was a temptation to be cynical and make the obvious Zeppelin comparisons saying that it's a pastiche etc, read the Pitchfork review if you want a review like that. But I've opted to go the other way and try to prove the claim that by sounding the way they do, they have garnered an appeal that has made them go stratospheric in very short time. I thought I'd talk about the music itself, Age Of Man the song that opens this record is an organ drenched atmospheric, anthemic beginning with Geddy Lee waspishly harping over the top, it's followed by The Cold Wind which I will admit sails too close to the Zep template with the funky blues guitar, walking groove and the Plantisms in full swing as does When The Curtain Falls. So yes they do sound a bit like Zep, but equally they are the epitome of that hippie sound from the late 60's, a time period that is probably ancient history for this youthful band.

Still there are plenty of band's that use the Zep/Free mold to make music, Rival Sons being the obvious example, the only difference here is how uncannily vocals sound like Percy without being a complete rip off, they haven't quite got the honeyed lower register but that may develop with age, only time will tell. The rest of the band play the Delta-blues aping hard rock rich in groovy rhythms and jangly guitar playing, they aren't reinventing it for new era but drawing on it to create new songs that sound oh so retro. Whether their naivety in interviews about trying to sound like Zep is honest or not, I don't know but for such a young band to be churning out this very slick accomplished rock is something that needs to be applauded. In a world where rock is supposedly dying having bands such as Greta Van Fleet, Rival Sons, The Temperance Movement and even Inglorious playing new music that is instantly recognisable (for better or worse) can only be a positive thing. Yes it's nothing new but there are only so many songs/sounds and styles in the world and Greta Van Fleet do it better than most. So baulk if you want, make snide comments, this is a young band who know how to navigate the torred seas of the music industry, The Song Remains The Same as it always has give the people what they want! 8/10

Nothgard: Malady X (Metal Blade Records) [Matt B]

Singer and lead-guitarist Dom R. Crey formed Nothgard in 2008, 10 years into their career (Malady X geddit?) they continue on the maxim of epic symphonic arrangements and intensely technical playing. This is melodic death metal that ventures into the power metal realm with some neo-classical guitar playing added just to really get you nice and excited, if you're expecting high shrieks and powerful crooning you won't get that here as Crey opts for harsh death vocals meaning there's a lot of comparisons to be made to Children Of Bodom but also Dragonforce.

I will say that for fans of this kind of music Nothgard are at the higher end, especially with this record they have tried to set the bar higher than ever before which can hear in every orchestral swell or blistering guitar solo (of which there are many), they've got pumping synths driving Guardians Of Sanity, thrash touches on Serpent Hollow, fist pumping symphonic metal for Herald Of Death and a cover of Ninja by Europe (yes, really) that give you a pretty decent overview of what Nothgard are all about. I'd not heard much about Nothgard before this album but I'll be doing some digging as Malady X is a very accomplished epic melo-death. 7/10

Windhand: Eternal Return (Relapse Records) [Paul H]

Windhand is a psychedelic doom band from Richmond, Virginia. The band comprises Dorthia Cottrell on vocals, Parker Chandler on bass, drummer Ryan Wolfe and guitarist Garrett Morris. This is the band’s fourth album, since they formed in 2008. At over an hour long you certainly get value for money with this release. Opener Grey Gardens, complete with distorted bass and filthy fuzzy guitars certainly sets the tone and pace. A theme which focuses on life’s highs and lows, joys and sorrows is represented here with the sanguine Pilgrim’s Rest sandwiched between Grey Gardens and another crashing doom riff laden track in First To Die.

The band has experienced loss, changes and death in between 2015’s Grief’s Infernal Flower, including the departure of founder member and guitarist Asechiah Bogdan, which is reflected in Eternal Return. Whilst the monstrous Sabbath and Sleep riffs remain, Cottrell’s hauntingly soft vocals move the band slightly more towards Soundgarden and even Alice In Chains at times with a sludgier feel. Windhand follow a clear pattern, and it’s the gargantuan heavy Eyeshine which really shakes the foundations. 11 minutes of crawling, thunderous riffs, atmospheric vocals and crashing drumming and if this wasn’t enough, Feather rolls in shortly afterwards at a crushing 13-and-a-half-minute ride full of punishing doom, distorted feedback and rolling bass lines. Windhand won’t be everyone’s thing. The ponderous style works fabulously if you like your doom at chest crushing levels. 7/10

Oracle: Tales Of Pythia (Self Released) [Paul H]

This debut EP from Northern Irish groove bastards Oracle was released in June, ahead of their balls out performance at Bloodstock in August. I was impressed with the band on the day in the New Blood tent and this release is a solid example of what they threw into the mix on that day. Four hefty songs as well as an intro track including the thunderous No God Waits For You, which stomps and kicks like a unbroken horse. Harsh vocals fit the heavy stomp and the thunderous cacophony that envelopes the listener pummels from left to right and back again in a relentless pattern of abuse. With more heft than an Ulster Fry, Tales Of Pythia is a debut to be proud of. 8/10

Reviews: Soulfly, Nazareth, Skålmöld, Dirge (Reviews By Paul H & Matt)

Soulfly: Ritual (Nuclear Blast) [Paul H]

It’s been three years since Archangel, an age between albums for Soulfly but with Max Cavalera busy with Cavalera Conspiracy and the Return To Roots tour with brother Igor, it’s probably not a surprise. I missed the band’s recent UK tour which by all accounts saw Soulfly on blistering form. Well, Ritual is worth the three year wait. As soon as Marc Rizzo’s unmistakable trademark riffs open the album on the title track, which then explodes into a melee of tribal thrash you know exactly where you are.

It’s hard, it’s heavy; it’s Soulfly. Chunky riffs combine with explosive drumming coming from Zyan Cavalera’s third appearance on the drum stool. Dead Behind The Eyes has the bonus of Lamb Of god’s Randy Blythe laying down his characteristic gnarly vocals on a fiery, ferocious track which slices and lacerates. It’s intense, a whirling maelstrom of aggression. One of the standout features on what is a fabulously brutal album is the underlying groove which hasn’t always been present in their recent music. The Summoning combines death and thrash metal but with a huge underlying groove throughout the track. 

Immolation's Ross Dolan adds gravitas to Under Rapture, another bludgeoning head banger which accelerates to warp speed within seconds and doesn’t break until it hits the brick wall at the end. Rizzo is a massively underrated guitarist and this release showcases just how fine he is with some astonishing lead breaks. Mike Leon underpins the entire album with foundation shaking bass lines, former bassist Tony Campos now on duty with Ministry and Fear Factory not missed at all. Mixed with the usual tribal elements, the album maintains the traditional conclusion with an instrumental track, this time it’s Soulfly XI, sharply contrasting with the scorching ten tracks that precede it , and which features some haunting saxophone and beautiful acoustic guitar Josh Wilbur’s fine production adds to the quality on an album that stands proudly alongside the band’s finest works. An essential listen. 9/10

Nazareth: Tattooed On My Brain (Frontiers) [Paul H]

Four years after the Scots final album with the gravel-soaked voice of Dan McCafferty, one of the UKs most legendary rock bands are back with a new album. I’ve always had a soft spot for these guys, ever since I heard a live version of Razamanaz on a heavy metal compilation in the very early 1980s. That song, the title track from their 1973 Roger Glover produced album has always been a favourite. I was a little disappointed with the band at Steelhouse a couple of years ago, but I think that’s due to the lightweight mix which rendered the band limp in the riff stakes. Having brought Carl Sentance, the former Persian Risk and Krokus vocalist into the fold in 2015, this release demonstrates that he is the perfect fit for Nazareth. 

Tattooed On My Brain consists 13 songs, the majority of which are good solid hard rock in the style of boogie kings AC/DC. In fact, the only weak track on the album is the ballad Rubik’s Romance, which is pretty insipid. The rest of the tracks, all allow Sentance to show his chops, whilst original member Pete Agnew’s simple bass lines thump out of the speakers, combining neatly with son Lee on drums. Elsewhere, long-serving Jimmy Murrison adds enough meat with his tasty guitar playing. There are many highlights on this rock solid release, and whilst it won’t win the big plaudits, there is still plenty of life in this dog. 7/10

Skålmöld: Sorgir (Napalm Records) [Paul H]

I admit to knowing little about the Viking metal of Icelandic outfit Skålmöld. Relative veterans of the scene, this is their fifth album. As with most Viking metal, there appears to be a range of styles all wrapped up with random shouting and screaming. Scotta is case in point; plenty of thundering metal with the vocals all over the place. Lots of horn in the air style gestures and pumping riffs, backed by batteries of drumming and fast paced. It certainly isn’t as shocking as some of the rubbish I’ve heard this year. In fact, at times it’s very catchy. Take Gangori as an example. This is an explosive emotive and rousing track with some terrific guitar work. Sorgir opens in majestic style, combined riffs and neat hooks pull in the right direction on Ljosio, the image of longboats crashing through the waves as hordes of bearded long-haired broad raiders worked their hardest to get to their prize. 

Much like the other bands in this genre, there’s a typical format which they follow. The sing-along style of Sveroio follows Ljosio whilst the more focused straightforward approach of Brunin adopts the usual blueprint of heads down heavy, almost thrash power metal, with a meaty Anthrax style stomp welcome halfway thoroughly as the chanting to the god’s kicks in. Atmospheric introductions are not far away and Mori, at over six minutes in length can build dramatically and impressively, choral voices soaring as the riffs of the track kick in. Unlike some of their counterparts, it’s the rather grating vocals of Bjorvin Sigurosson which cause me the most grief. Gruff like Hegg is fine, but I find Sigurosson’s delivery the weak point here. As I said, Viking metal doesn’t always do it for me and this is a mixed bag which doesn’t quite hit the spot. 6/10

Dirge: Lost Empyrean (Debemur Morti Productions) [Matt B]

We've got a term here at MoM Towers for when something is particularly heavy, we say it has heft. Lost Empyrean the 7th album by Parisian sludge mongers most definitely has heft, a molten brew of early Baroness, Pelican and Isis with huge slabs of crushing ferocity it "Serves as a soundtrack to the dual relationship between the primordial quintessence colliding with the earthly body and the illusory nature of providence upon the somber, meager trappings of existence."

Meaning that it's packed with highly conceptual doom riffs that switch between punishing thunder of down tuned savagery to post-metal ambience in an instance flowing like glacier. Having been around since 1994 the band have a been purveyors of noise for a bloody long time which means that the music here has been carefully constructed for maximum impact, it's primal and uncompromising coming from the same gloom as Neurosis with added industrial oppression to really freak you out (Algid Troy). A heady mix of beauty and brutality Lost Empyrean is a heavy hitting album that will have you transcending earthly realms from the word go. Just play it loud! 8/10

A(nother) View From The Back Of The Room: Evil Scarecrow (Comparative Live Review By Paul)

Special Brucey Bonus Review

Evil Scarecrow – The Garage, Glasgow

You may have read Neil’s recent glowing review of Nottingham parody metal outfit Evil Scarecrow from their recent gig at the Motion in Bristol as part of their Antartartica UK tour. The band have steadily built a reputation for their live shows and I admit with no shame that I was scuttling across the main arena at Bloodstock in 2014 when the band drew a huge number to watch their early morning set. However, since then the band has failed to interest me in the same manner and whilst I don’t deny that they are adored by many who would argue that they are fun and a good time, I for one find their set now a little dated.

Ten Foot Wizard (8) have been around since 2009 and despite only catching their final four tracks, I liked what I heard and saw. Heavy stoner riffs and energy a plenty from front man Gary, the band careered through their set with real drive and determination. The Mancunians warm fuzzy tones pleasing and closing track Covered In Tits complete with microphone taped to heron and loud speaker was just ridiculous.

With the tarps pulled away the stage set revealed a giant igloo amongst many other props and as the band hit the stage the place went nuts. Quickly retreating to a safe distance, I watched from further back as Evil Scarecrow (6) got stuck into their set with a couple of new tracks from the weak Antartartica album. The sound was abysmal, with the vocals buried in the mix and the guitars non-existent. Whilst this didn’t appear to impact on the rest of the crowd, it accentuated my reservations about the band. Props were everywhere, partly to disguise the fact that musically, this band isn’t that good (something they openly acknowledge). An early place in the setlist for Robototron did raise a smile from me as the band attempted to get a ‘square pit’ going only for the crowd to get it hopelessly wrong.

As the 90 minute set developed, it was clear to me that the new material isn’t up to much, with the Ballad of Brother Pain particularly awful. Flying saucers, robots and spacemen are all well and good but it would be much more enjoyable if the band had more songs to match the onstage antics. I found myself looking at my watch and checking my phone several times as the set continued, not a good combination. Red Riding Hood saw a ridiculous dance off competition whilst the bloated title track from Antartartica saw many lose attention. As it was, the expected antics of Crabulon, Space Dementia and closing encore Hurricanado ensured that the vast majority of the crowd lapped it up and went home happy. We had a lengthy debate about the band afterwards, with the conclusion being that I just don’t find Evil Scarecrow as funny and enjoyable as I did a few years ago. Maybe I’ve want more from my music than inflatable crabs and robots. Maybe the sound marred it. Maybe  I’m just a miserable bastard. Whatever the case, if you like Evil Scarecrow, then good for you. Enjoy and have fun. I’ll just pass next time they come round.

A View From The Back Of The Room: Hogjaw

Hogjaw, Henry's Funeral Shoe, Lifer, Ebbw Vale Institute (EVI), Ebbw Vale

It's been a long time since I've been to the Ebbw Vale Institute, the last band I saw here was Absolva back in the mists of time. The venue hasn't changed at all the huge ceiling means the venue is probably one of the loudest in South Wales, they also have a superb bottle bar with numerous quite rare ales.

With a crowd starting to fill the venue it was time for the first band and taking full advantage of the huge sound were the groove-laden Lifer (8) who I've only ever seen in Fuel and I'll admit haven't really enjoyed, here though in front of a partisan crowd they were miles better than I'd ever seen them, this was probably due to the sound being a lot clearer meaning you can hear the sludgy discord of their NOLA-influenced riffs. Getting a 45 minute slot Lifer played their best tracks every one having thick syrupy riffs and shouted aggressive vocals, as I've said I've never seen Lifer better and I'd love to see them again when I'm bit more acquainted with their tracks. A pretty heavy way of starting the evening.

Now here's where it gets odd, next up were Henry's Funeral Shoe (7) a modern blues two piece who have a cult like following in these parts, as witnessed by the now largely expanded crowd most of which stuck down the front for the entirety of the bands one hour set. Now their music is good, Aled is a very expressive guitar player moving between Hendrix-like freak-outs, fuzzy riffs and old school blues slide, his vocals are raw while Brennig is a demon behind the kit, a frontman in his own right getting the crowd going urging them to get moving. Now as good as Henry's Funeral Shoe are as a band I will admit an hour was little too long as a support, especially because as soon as their set ended many people did leave the venue, I want to say that this was due to transport issues (the headliner didn't come on until 10pm) but it's probably more due to most treating this as a headline set over the lesser known main band. Still a great show that eased a little more melody into the evening.

Then it was time for the headliner and the band I'd come to see, as you'll know we're a bit partial to some Southern rock here at MoM Towers so we couldn't pass up the opportunity to catch Arizona's premier Southern rockers on their first UK tour. Hogjaw (9) are supporting their 2017 album Way Down Yonder meaning that a lot of the set came from this album, exploding out of the gates clad in their best Southern threads, I'm talking beards, Stetsons (bassist Elvis DD), camo and slinging some Gibsons they came out swinging with Rollin Thunder and Beast of Burden (Roll On) they let rip with some hard rocking fury however Jonboat Jones' guitar was not audible for the first few songs only coming back by the third song in, as both him and lead guitarist Jimmy Rose share the lead breaks in the style of the Allman Brothers it did detract a little, Jonboat Jones is the main vocalist his hollar towers above it all in similar timbre to David Allen Coe.

However this band are multi-talented and versatile meaning that both Jimmy Rose and drummer Kwall take lead vocals on North Carolina Way and Road Of Fools respectively. Balancing hard rock and country they've got the boogie of ZZ Top, the swagger of Skynyrd and of course those slick soaring leads, best witnessed on the magnificent County Line which is 13 minute guitar workout from Rose. A great use of slower numbers dotted throughout the set meant that it was very well paced getting the now more noticeably sparse crowd in the groove, although there was the dreaded talking during the quieter passages which is still very bloody annoying. As the set came to a close the technical gremlins came back with a vengeance but by that time nobody was that bothered (even me).  If you missed them here then next time you better come Way Down Yonder with Hogjaw.  

A View From The Back Of The Room: Saxon (Live Review By Paul H)

Saxon & FM, Barrowland Ballroom, Glasgow

I’ve lost count of the number of times I’ve seen Saxon. It must be close to ten in the last six years alone. One of the hardest working bands in the world of hard rock, the band continue to release high quality albums and put in two hour shows despite their veteran status. Having seen them blow the roof of the Great Hall in Cardiff earlier this year, we tripped the EasyJet fantastic and headed to the iconic Barrowland Ballroom to catch the band on Part II of the Thunderbolt European tour.

Glasgow’s Barrowland Ballroom is a fabulous venue. Located in one of the less salubrious parts of the city, the venue is split over a couple of levels with the main Ballroom at the top level. The iconic sign which lights up the outside set the hairs standing on the back of the neck whilst the security at the main entrance were welcoming and full of humour.

We deliberately missed opening act Wayward Sons as we were having a drink in the very decent Solid Rock Bar, a venue so impressive and one that our own local venues could learn a thing or two from. Clean, spacious and with a decent variety of beers, this looked to be the place for a pre-gig pint.

Entering the Ballroom with its 2100 capacity about 90% full, last minute support FM (8) were in the process of blasting out That Girl, their seminal track receiving a superb response. Every time I see this band I remember how slick and polished they are. Steve Overland has a superb voice whilst the rest of the band, Merv Goldworthy, Jen Davies, Jim Kirkpatrick and Pete Jupp are one musicians. Their smooth AOR style may not suit everyone but the band played it straight, picking out a range of tracks from their 11 album back catalogue including a couple from their most recent Atomic Generation album which received a warm Glasgow roar. Little chat, just plenty of music and the place was close to bouncing by the time the band finished their 40 minute set.

We moved to the far side of the venue which proved to be a good move as the show had sold out on the day of the gig and like many buildings of a similar age, the installation of air conditioning had clearly passed by without a thought. It was pretty warm. I’ve reviewed Saxon (9) many times in the past and there are few superlatives left to use. Led as usual by the reliable Biff Byford, whose voice shows no signs of aging, the band crashed through a 22 song set which contained several tracks from Thunderbolt, as well as title tracks from Sacrifice and 2016’s Battering Ram. In essence, the set list changed little from that gig back in Cardiff, with one of the weaker songs from Thunderbolt, Sons Of Odin replacing Sniper and the reintroduction of Solid Ball Of Rock into the setlist about the only variations.

It was clear that whilst the new songs were known to the majority of those present, it was the 1980s stuff that most Saxon fans wanted to hear and as always, they didn’t disappoint. Pick your hit list from the first few albums, and that’s the set list in a nutshell. Motorcycle Man appeared early, a thumping Dallas 1PM nearly took the roof off whilst the standout track was the brooding The Eagle Has Landed which opened the first set of encores. Saxon do it old school, and that’s usually alright for me. Occasionally you wonder whether they would do something a little different, and throw in some curved balls from other albums, but as they arrive at their 40th anniversary next year, it’s hardly a surprise. The famous Glasgow roar arrived at various times, with the volume of the crowd impressive. Despite their reputation, I did feel that the energy levels in the audience at times didn’t match that of those on stage and towards the end of the set it appeared a little subdued. Wheels Of Steel, complete with sing-along and the reemergence of a balloon that Brett had released over 90 minutes earlier which bounced off Biff’s head galvanised the crowd for one last push before the anthem that is Denim & Leather sent everyone home happy.

Saxon have been on the road for most of 2018. Their tour schedule is punishing. The list of countries they’ve travelled to this year lengthy. It’s amazing that they can still do it and with drummer Nigel Glockler showing no ill effects from his subarachnoid haemorrhage from a few years ago, the band appear tighter and healthier than they have in years. Sure, it is at time a bit of a cabaret with Biff playing the ringleader with aplomb, but there is no doubt that Carter, Glockler, Quinn and Scaratt remain fantastic musicians. Their energy and intensity, even on tracks they play night after night is incredible. 2019 should be a brilliant year for one of the best British metal bands of all time. Let’s hope so. They deserve it.

Reviews: High On Fire, Earthless, Mirrors For Psychic Warfare, Sunless Dawn (Paul H & Paul S)

High On Fire: Electric Messiah (Entertainment One Music) [Paul S]

Matt Pike has been really busy this year. Not content to release a brilliant new Sleep album (The Sciences), he’s also back with a new High On Fire album, Electric Messiah. It’s been 3 years since their last album Luminiferous, so what have High On Fire got for us this time? First track, Spewn From The Rock, sets the pace for this album. It absolutely rages! This album is insanely fast. Pure simple thrash, fast, in your face and with a real punky edge. Second track Steps Of The Ziggurat / House Of Enlil seems to have a slower more 6/8 timing, until about half way through, when the pace picks up and were back to high energy thrash again. Sanctioned Annihilation does a similar thing, more of a slower track, until the band get bored of it and put their collective feet to the floor, and the song gets turbo charged again. When ever High On Fire try to slow down and be more measured and sensible, the red mist clouds their vision and off they go again.

This isn’t a complaint, this is wonderful. High On fire are at their best when they are at full speed, and they know it. The title track, which was inspired by, and is an homage to the late, great Lemmy. My god, what a tribute this song is. Definitely one of the fastest songs on the album, to my ears it sounds like the Motorhead track Overkill pushed to ridiculous levels of fury; an absolute raging explosion of a song! The production is great as well, this is the 3rd album produced by Kurt Ballou and he knew exactly what this album needed. It’s raw and in your face, but at the same time clear enough to allow the songs to shine through. 

The band all excel themselves. Des Kensel’s drums sound like amplified thunder, Jeff Matz’s bass could start earthquakes and Pike’s vocals are probably the best he’s managed with High On Fire. Every song on this album is cracking, they all have their own personality, and I didn’t get the urge to skip any of them. The album is brought to an end by the track Drowning Dog, another storming fast track with an absolutely brilliant chorus, which will get stuck in your head. Electric Messiah is probably High On Fire’s best album, from a band that have only made good albums. Do yourself a favour and get this album, it’s impossible to listen to it without smiling! 9/10

Earthless: From The West (Nuclear Blast) [Paul H]

The savagely jazz free form style of San Diego’s Earthless has been impressing audiences around the world since their formation back in 2001. Their latest live album, their third, captures the band in their natural environment. Lengthy psychedelic and Krautrock pieces, mainly instrumental in nature, showcase the talent of the three musicians in the band. The band once delivered an astonishing set at Roadburn in Norway, the recording of which was released live and this release, recorded at the Great American Music Hall in San Francisco in March encapsulates their ferocious approach. The Baroness/Rory Gallagher fusion of Electric Flame is one of the few tracks which features the vocals of guitarist Isaiah Mitchell, although it is his fluid finger picking that stands out, with some impressive lead work. 

The band is completed by bassist Mike Eginton and Mario Rubalcaba on drums, whose solid rhythm work allows Mitchell space to work. Tracks such as the 20 minute Uluru Rock allow you to become fully immersed in the band’s evolving styles, whilst a rather tasty cover of Zeppelins Communication Breakdown doesn’t let down the original in any way. A fine release that is worth repeated playing. The band are on the bill for 2019’s Desertfest in London and if you are heading to that these guys are sure to be worth checking out. 8/10

Mirrors For Psychic Warfare: I See What I Became (Neurot Recordings) [Paul S]

Mirrors For Psychic Warfare are Scott Kelly from Neurosis and Sanford Parker; musician and producer extraordinaire. The pair have worked together on Corrections House, this is the second album from this industrial project. First track Animal Coffins starts slowly, dissonant electronic sounds fade up and down, becoming more and more oppressive before a slow, powerful beat pulls all the disparate parts together. The song has an eastern feel to the later parts, with the inclusion of Tabla drums and chanting. The pacing on the album is all mid-paced, these aren’t the kind of beats you could dance to, much more hypnotic and relentless than that. There are also elements of Glitch Techno in the sound as well, the track Body Ash is a good example of this. In some ways this sounds like Godflesh jamming with Aphex Twin. Most of the individual instruments on this album, whether real or software, have lots of reverb and echo on them. However, the vocals don't. This allows the vocals to cut through the music, no matter how dissonant and cacophonous the music might be.

Although there is a real feeling of darkness and menace in the music, the vocals have a feeling of intelligence and control, which act as an interesting juxtaposition to the music. The song Crooked Teeth has a heavier feel to it, particularly the latter part of the track, the rhythms feel like they are in opposition to each other, and what could be an organ gives the song real depth and weight. There’s a dreamlike quality to the album. The constantly morphing music, combined with eerie samples and the clean vocals feel like a fevered dream, a dream that is confusing, that you want to wake up from, but can’t. The final track Coward Heat is the slowest song on the album. A dark, desolate, dissonant soundscape that brings the album to a really disquieting finish. This is not an album for the faint hearted. But if you are willing to let some incredibly dark industrial noise into your life you will find a lot to enjoy in this album. Give the album a little time and you’ll get a great deal out of it. 8/10

Sunless Dawn: Timeweaver (Prime Collective) [Paul H]

This is the debut release by Danish progressive death metal outfit Sunless Dawn. Complex patterns, deep and intricate passages as well as mood changing reflections are all contained in a soundscape of truly interesting tracks. Having waited for some time to produce Timeweaver, the Danes, who earned a slot at Wacken in 2016 by winning their national battle of the bands competition, have clearly taken their time to ensure that it’s a memorable piece of work. The opening three tracks segue into the intrinsically linked middle trio, Biomorph I, II and III, which provide an Opeth style exploratory sound. Biomorph I: Polarity Portrayed switches easily from delicate and fragile into Biomorph II:Collide Into Being, a much more raucous and aggressive piece which still retains melody, haunting atmospheric guitar work and some perfectly pitched keyboards which add both depth and warmth.

The track ascends to epic proportions with the introduction of choral voices toward the end before easing gently into part three, Biomorph III: Between Meadow And Mire. This is another stunning and intricate piece of work, retaining hooks and pitch whilst the organic evolution develops in Ne Obliviscaris style. Whilst the band are described as progressive death metal I’d also add a good dose of black metal and even a teaspoon of djent into the mix. Timeweaver is a beautiful piece of work with closing track Sovereign, all 15 minutes in length, a perfect conclusion to an explosive, balanced, natural and complex album. With influences amongst the band cited as far ranging as Dream Theater, Opeth, Alcest, Cynic, Tesseract and Cattle Decapitation, it’s still a surprise just how mature and thought provoking this album actually is. An enormous debut from a band who clearly have potential for a massive future. 8/10

Reviews: Impellitteri, Send Request, Atlas, Onkel Tom (Reviews By Rich & Matt N)

Impellitteri: Nature Of The Beast (Frontiers) [Rich]

Impellitteri are a band I’ve never heard of before considering they have been going since 1987 and about a minute into their new and eleventh album Nature Of The Beast I was wondering why the hell I hadn’t heard these before as this is right up my street. Named after founding member and lead guitarist Chris Impellitteri the band play a super intense and fast style of heavy metal with absolutely face melting guitar shredding. The songs are all very melodic and catchy as well. It’s not just about Chris Impellitteri's guitar gymnastics though as frontman Rob Rock proves himself to be one of the most underrated singers in heavy metal. This is a fantastic heavy metal album full of fierce yet melodic anthems. The album is about two songs too long. The two cover versions - Andrew Lloyd Webber’s Phantom Of The Opera and Black Sabbath’s Symptom Of The Universe - serve little purpose but it’s only a very minor criticism. 8/10

Send Request: Perspectives (Sharptone Records) [Matt N]

Perspectives by Send Request screams into life with an irresistibly cool riff in Dr Dare Rides Again. As a man who loved Simple Plan and Sum 41 in my youth I must admit the similarities to the vocals in those bands and other American pop punk groups is unmistakable. Hearing those vocals took me immediately back to simpler days of being a mildly emo teenager who wanted the world to listen to his pain. The second track Talk A Lot is a little bit different and is much more comparable to A Day To Remember, the vocals take on a harsher quality and the drums lead the way with faster and more complex rhythms. The tone of this song retains the teenage angst of the previous track but adds in the more aggressive qualities that only metal can provide in music. This seems to be the line that Send Request is attempting to walk, a balance between the more alternative rock bands and some metal influences.

That being said there isn’t a shortage of variation in this work. Send Request’s fourth track Let It Die takes on a more acoustic and simplistic tone. The vocal harmonies help reinforce the summer sunsets vibe. Lyrically the song is about having to let things change, a common human experience that I encourage the readership to listen to when they’ve experienced a recent change in their life. Both tracks Trust and Make Like A Tree are songs that didn’t 100% stick. I felt that neither of these songs achieved anything that the previous songs had accomplished. The choruses don’t quite hit strong enough to be truly impactful. I would have liked to hear more of those metal influences in these tracks to elevate the music rather than leaving it at the level of The All American Rejects. That’s not meant as a criticism of TAAR, simply as a statement of comparison. I think at this point in the album, Send Request reveal that they aren’t yet comfortable being aggressive as much as they prefer a more melancholic anger.

Here’s To The Years brought me right back on board with this band. As a lyricist myself I was able to overlook somewhat uneventful instruments to really appreciate how wonderfully conversational the lyrics are. So often in listening to smaller bands do you hear lines that do not link together properly but this song has lyrics that consistently flow into one another. Often I have a habit of assigning a time of year to a band’s music and this track is meant for autumn listening. Do yourself a favour and listen to this at the end of a school year, you’ll be in the right frame of mind to truly appreciate this gem. In fact I almost wish this song had been drawn out and left as the ending of the entire album, it has a beautiful sampling of what I assume is band conversations to accent the meaning of the song

Send Request is doing everything in their genre well, but I do question the individuality of the music. I’m not sure I’ve necessarily heard enough from this band to truly separate them from others in the same peer group. That all being said, the band has the uncanny talent for being able to perfectly structure their mid sections and endings. I am encouraged to listen to this band more and I do think that they should be selling out stadiums to packed teenagers, it’s music that directly appeals to adolescence and I hope that they find the millions of fans that they deserve. 8/10

Atlas: In Pursuit Of Memory (AOR Heaven) [Rich]

In Pursuit Of Memory is the debut album by Manchester based melodic hard rock band Atlas. This is the band's second release having previously released the EP World In Motion last year. Atlas have a sound that in rooted in classic AOR bands but also manages to sound contemporary and takes influence from progressive metal bands such as Dream Theater. The song themselves contain plenty of melodies and hooks with hummable piano lines and some impressive lead guitar playing with standouts being As Time Goes By, Lock And Key and Flesh And Blood (for which a video was filmed). The songs generally are all high energy and sound very professional for such a young and inexperienced band.

The vocals by frontman Craig Wells are definitely something of an acquired taste sounding absolutely awful and off key on the first couple of songs which sound like they were written for another singer altogether. Thankfully his vocals do improve drastically as the album goes on and the later songs do suit his vocal limits. Atlas have produced an enjoyable debut album which whilst not completely wowing me is definitely more than listenable. With some more experience under their belts I’m sure Atlas will become a big name in the modern AOR scene. 7/10

Onkel Tom: Bier Ernst (Steamhammer/SPV) [Rich]

As well as fronting the thrash legends Sodom, Tom Angelripper has released many solo albums under the guise of Onkel Tom. The latest of these and album number seven for Onkel Tom is Bier Ernst a double album of drinking tunes and party anthems. Don’t come into this album expecting a thrash metal attack as what you get is a mix of punk rock, heavy metal and rock & roll and splashes of folk music. There are odd moments which are far more thrash metal influenced such as the crossover song Ich Finde Nur Metal Geil but the majority of the songs are pure party rock influenced by hard drinking and good times such as Wir Trinken Wenig and Bier, Bier, Bier.  The second disc switches it up and is a bit more serious but still with the fun element which is carried through the entire album. Despite the language barrier (the entire album is in German), Bier Ernst is very enjoyable and would be a great album to put on for an evening of beer drinking and partying. 7/10 

Reviews: Heir Apparent, Bearfist, Void Titan, The Outlaw Orchestra

Heir Apparent: The View From Below (No Remorse Records)

Formed in Seattle by guitarist Terry Gorle in 1983 Heir Apparent are a band who suffered a fate similar to many at that time by breaking up/going on hiatus until around 2000. The line up that appears on this record have been in place since 2015 with Gorle on guitar as usual with Will Shaw (vocals), Derek Peace (bass), Ray Schwartz (drums) and Op Sakiya (keyboards). The View From Below is has been picked up by Greek label No Remorse Records and it's the bands third full length record and if you're a fan of progressively tinged classic metal then this will be right up your alley. They have always been compared to their fellow Washington state compatriots Queensryche who I will admit they sound a lot like although I'd also add in that on The Door they sound like early (first two albums) Dream Theater when they had a lot of grit, mainly due to Shaw's vocals.

It's got that swirling keyboard and heavy riff that made the Kevin Moore/John Petrucci partnership, these touches re-appear on the brooding Synthetic Lies. There's not often when bands have such an extended break and come back better but Heir Apparent have bucked this trend, they're progressive tinged heavy metal is confident, assured with a lot of effort having been put into write this record with time taken to add some experimentation bringing in Eastern influences for The Road To Palestine. You've probably overlooked Heir Apparent but I'd urge you pick this album up if you like progressive heavy metal. 8/10 

Bearfist: Smile You Son Of Bitch (Self Released)

Smile You Son Of A Bitch is the third EP from Chelmsford heavy's Bearfist, after winning the London M2TM's they have played Bloodstock Festival 2016, HRH Metal 2017 and Hammerfest 2018 you can see why they have a 'ones to watch' buzz about them from the songs this EP, big ballsy riffage combines with aggressive screams to really get the pulse racing with canal deep riffs right from the first second. Built on a bedrock of rage tracks like Death's Emissary and Bleed The Wrong Way are pit-starters of the highest order and across the four tracks the pace never drops below that of absolute carnage. Drawing influence from the NWOAHM there's the brutality of LOG and Devildriver but with the complexity of Brit ragers like Sikth (it's produced by Justin Hill) or Architects, jump out of your seat and show your teeth Bearfist are here to bring the noise! 7/10 

Void Titan: Harbinger (Self Released)

Having seen Bristol based doom crew Void Titan a couple of times, I had been wondering when they were going to make some recorded tunes and as if by magic here is Harbinger the EP literally heralds the arrival of the nastiest, most epic doom this side of London. Monstrous riffs are paired with barking death metal vocals, clean melodic leads and elongated tracks that weave, contort and twist as the rhythm section of Fionn Moore (drums) and Nick Lowry (bass) set a uncompromising precedence on opener Void Titan that is kept up across the remaining two tracks. Starting out with Phil Wadley's clean, atmospheric lead guitar, Void Titan then blasts into down tuned and thunderous riffage with Moore, Lowry and Rob Cooper blasting away as Cooper also barks down the microphone with guttural vocals, things shift back to ambience before your head is smashed in again rounding out the track with solo.

Second track Harbinger brings the doom (just as you'd expect) with a faster riff making this the shortest track on the album adding the grooves of Bolt Thrower. The band self recorded this album with Richard Parsons aiding with the engineer and it being a D.I.Y record, the production is a little rustic however the band wanted this EP to sound as similar to their live show as possible and they've pulled it off giving the EP an old school sound. Rounding out the EP is the impressive March Of Astartes (based on the Warhammer 40K universe) which chugs away like a a doom-laden trooping of the colour. A band who impress live also manage to capture their sound in the studio, don't ignore the warnings the Void Titan is coming. 7/10

The Outlaw Orchestra: The Devil Made Me Do It (Self Released)

Not a tribute to Thunder's song of the same name The Outlaw Orchestra are a Southern/Country rock band who hail not from the swamps of Georgia or the Bayou but the Deep South, that lawless city known as...Southampton. Having got in touch with us recently they sent us their three track EP that serves a precursor to a debut album that will (hopefully) released next year. The last track on this record is Back To Georgia which apparently is a a true story of "guitar player Dave getting a flat tyre on the car as he and girlfriend drove from Birmingham Alabama to Atlanta Georgia. After half an hour of cussing he suggested she do something useful like 'use your sweet ass to hitch them a ride back to Georgia'....hence the song was born"

Well if it works do it I say, especially if it makes a good song. The Outlaw Orchestra aren't a tribute or a pastiche they've got real Southern swagger in their blood boasting an upright bass and a banjo, the three tracks on here, it means that there are touches of bluegrass, country, flamenco, cajun and Southern rock. They've played all over the country with acts such as King King. The Dead Daisies, Dan Baird and Kris Barras gaining quite a reputation for themselves in the live arena, they've already been approached by our mate Rob Stampede and Toby Jepson so it looks like they're making the right people sit up and listen. If the devil made them do it then that contract was worth it. 7/10 

Reviews: Nosound, Vitja, Walking Dead On Broadway, Rise Of The Northstar (Reviews By Lee & Sean)

Nosound: Allow Yourself (Kscope) [Sean]

Shockingly, there are many genres of music other than metal. Outside the walls of blast beats, shredding and shrieks exists vast eco systems of sounds. Said sounds encompass an even broader spectrum of thoughts, moods and overall aesthetic beyond the metallic horizon. Italy’s Nosound are one such band though the mood here is bittersweet, the aesthetic is stripped down and austere. Once ranging from prog, post rock, ambient and electronic, Nosound's latest offering Allow Yourself casts aside the traditional in favour of a more minimalistic mindset. Guitars have been abandoned, drums absconded with and synths and all manner electronics taking the centre stage. Let us begin….

Ego Drip and Shelter share similar compositional qualities. An ostinato serve as the backbone as layers are gradually added and slowly growing into a crescendo of sweeping synths and pulsing electronics. My Drug plays with the formula more, soaring vocals atop a playful drum beat resulting in a very introspective ambience. Despite this, it all feels a bit….passive? Somewhat akin to silence coloured in. Then everything changes. Miracle is absolutely haunting and beautiful in equal measure, introducing a lonesome cello and providing a much needed change in dynamics. This Night and At Peace are equally strong offerings, perfect examples of Nosound's vision of a sparse sound employed to great effect.

Occasionally Allow Yourself buckles under its own ambition, the newly adopted barebones design robbing the songs of any spark or engagement. Yet the transition is far from a failure, as there are moments where this paradigm shift works beautifully. It’s in these moment that Allow Yourself succeeds and does so with stunning results. When it does work, Nosound create a dense ethereality, one of sadness, aching loneliness and a profound yearning for something better in this world. For those moments alone, Allows Yourself deserves to be experienced. 7/10

Vitja: Mistaken (Century Media Records) [Lee]

When asked to review this album, I saw Djent/Metalcore and I was immediately in. Hailing from Koln, Germany and having opened for some respectable Metalcore bands such as Texas In July and Iwrestledabearonce on the back of their debut album, Echoes, the band were destined for great things. Their entire back catalogue reminds me of bands such as Veil Of Maya, Volumes, Our Hollow, Our Home and Mistaken is no different. Their material is good but not strong enough to move them into the upper echelons of metalcore such as Architects but getting some decent outings as a support act will definitely help their cause. 

Mistaken is a nice mix of metalcore and djent with some melodic parts and if I could describe it in two words, it’d be Angsty Teenager and you only need to look at some song titles to get a feel of this, songs such as Friends Don't Lie, for example. The tracking of the album has a nice pace, a mixture of mellow and metal is an easy 30-minute listen. Standout tracks on the album are dependent on whether you’d prefer either a heavy or an easy listen, Anxiety is definitely a winner here whereas High on You is a complete polar opposite. A solid release but metalcore is such a tough sub-genre to catch a break but having already supported some of the best, they’re doing the right things and it won’t be long before they get to where they want to be. 7/10.

Walking Dead On Broadway: Dead Era (Long Branch Records) [Lee]

Deathcore seems to be a more progressive sub-genre in recent years and recent controversial releases such as Suicide Silence’s self-titled album and Whitechapel’s Our Endless War are prime cases here. Diversity in deathcore is not exactly new, bands such as Winds Of Plague have always included synths and organs in their discography and Walking Dead On Broadway take a page from their book. Dead Era pays homage to both Whitechapel and Winds of Plague and have come out with a belter. After the introduction song, Dead Era, which belongs in a Fallout advert, the album comes into full swing with Red Alert, followed by 50 minutes of ruthless aggression. Utilising technical prowess across the board, the band evidently are growing and have found the right path for them. It’s hard to pick out any standout tracks from the album, after going through the title track, the pace is relentless.

The Fire Never Lies is a favourite of mine along with Anti-Partisan but it’s a struggle to narrow it down to a single standout track which definitely has the makings of a solid album. The only criticism from me is having an instrumental track, Standstill, which has shades of Death’s Voice Of The Soul (one of my favourite songs of all time) two songs before the end of the album but that’s really the worst criticism I can say which is a testament of the strength of the album. Great work from a talented bunch and I really can’t wait to see where they go from here and if they end up on an Impericon Never Say Die tour, I’d advise on checking them out. Worth a listen if you’re a fan of Whitechapel & Winds Of Plague. 8/10

Rise Of The Northstar: The Legacy Of Shi (Nuclear Blast) [Lee]

Holy fucking shit, if you love Japanese Culture and hardcore music, get this in your ears. This is such a hard hitter of an album and checks so many boxes, this is one of the albums of the year. Regardless of the pace of the album, it’s still unbelievably heavy. Standout Hardcore albums rarely happen with the last to be Code Orange’s Forever at the start of 2017 but 18 months later, I think I’ve stumbled on the next big thing in hardcore. The Legend Of Shi takes elements from Hatebreed and makes it their own with heavy riffs, rap vocal elements in a sort of Emmure-esque way. We start off with The Awakening, a very small sample of what’s to come, a nice build up with a finale of aggression. Then Here Comes The Boom, which will get everyone off their feet and is my standout track from the album along with Teenage Rage which has French rap in it because why not? 

The album takes you in so many different directions that it truly is an unpredictable album. RotN vocalist Vithia does an outstanding job with his vocal range on the album, both clean and growl were hypnotic to the ears. He’s supported by 4 very talented hardcore musicians, Evangelion-B on lead guitar supported by Air One on the rhythm, Phantom behind the kit and Fabulous Fab (move over Flava Flav) on bass. This band deserve to get something big out of this release and as this is their “difficult second album” – they proved that if you’re really talented, that’s non-existent. For me, a definite album of the year contender and if you’re a fan of Hatebreed, Emmure and Terror, you’ll love this. I really can’t wait to see where the band goes from here. 9/10

Reviews: The Brew, Drift Into Black, Arion, Widetrack (Reviews By Paul H)

The Brew: Art Of Persuasion (Napalm Records)

The Brew were one of those bands that we appeared destined never to see live. Several cancelled gigs in Bristol and Cardiff frustrated the flip out of us before we cornered the bastards at Hard Rock Hell in Pwllheli in 2014. They didn’t disappoint. Their previous albums (amongst several in their back catalogue) did receive glowing reviews from Matt (9/10 for 2014’s Control) and me for 2016’s Shake The Tree (8/10). Two years on and the lads from Grimsby are back with another quality release. Once described as ‘earthy, fertile and sometimes wonderfully grainy’, the opening Seven Days Too Long demonstrates that the lads have lost none of the confidence and swagger that made them such a hot prospect a decade ago. Tim Smith, Kurtis Smith and Jason Berwick have once again released an album that combines the spirit of Soundgarden with the passion of Wolfmother and the gravitas of Zeppelin. This album is crammed full of stomping hard rock which should please all but the most stubborn rock fans. Gin Soaked Loving Queen, Excess and the excellent Shaking The Room are amongst the plethora of highlights on another quality release. 8/10

Drift Into Black: Dead Suns Under The Forever Moon (Self Released)

One of the bonus points of writing for this blog is the range of music that we get sent. I was recently contacted by Craig Rossi, a multi-instrumentalist from the States who sent me a friend request on Facebook. Craig is the mastermind behind Drift Into Black, a doom metal and dark rock outfit from Sayreville, NJ. Dead Suns Under The Forever Moon follows the 2017 debut EP Shadow People. Dibs handles the vocals, guitar, keys and production with guest musicians Paul LaPlaca on bass, drummer Kleenex Markelji, Rick Habeeb on additional guitars, Melissa Hancock on vocals and Elizabeth Weaver on cello. Dead Suns Under The Forever Moon is a concept album which deals with revenge, going too far and coping with the aftermath of it and trying to be normal again. Heavy stuff! The monstrous opening Reign segues into falling rain before a huge riff opens Sifting Through The Dead, a track that is dripping with atmosphere and haunting imagery.

Melancholic yet ominously heavy, clean vocals comfortably weaving into the very living breath of the track. Subtle keys add depth as the track builds to a crescendo. The massive sound continues on Left In The Ash, highlighting the excellent production quality. Waves of doom metal crash down, the sheer depth of emotion almost suffocating. An unexpected pause hits halfway through, the riffs take a back seat as there is a change of pace. The heat intensifies substantially on Hollow, the huge drum sound underpinning an initial charge before once again the direction suddenly shifts. Weaver’s cello features on the haunting Gone But Not Forgotten, a melancholic reflection, enhanced by Hancock’s beautiful backing vocals. The blackness descends with a lonely guitar riff, accompanied by a piano key on Death From Above, a track that then explodes into a wall of thunderous doom, sweeping powerfully like an avalanche descending a mountain side. Fuzzy dirty guitars open up No Return To The Light, another tune that skulks in the shadows before the ambient style instrumental track Home, complete with cello, provides a fitting finale to an impressive release. 7/10

Arion: Life Is Not Beautiful (AFM Records)

Symphonic metal band Arion follow up on 2014’s debut Last Of Us with their sophomore album Life Is Not Beautiful. Now I’m not much of a fan of this genre, much of it is lost on me and it’s as close to Eurovision as we get in the metal world. At The Break Of Dawn captures that feeling completely, with the duel male/female vocals, huge melodies and rampaging 100mph power metal style approach. The band comprises Greg Velinov on bass, Lassi Vagranen on vocals, Topias Kupiainen on drums, guitarist Ilvo Kaipainen and keyboard player Arturo Vauhkonen and they really give it everything, such as the frantic The Last Sacrifice which fires along after an enormously dramatic introduction in full power metal style.

The tempo is halted by the obligatory ballad, Through Your Falling Tears which is truly dreadful. From here on in it is rather standard fare, unimaginative and melodramatic, veering from AOR to power metal and always with the overblown symphonic elements exaggerated beyond necessity. Punish You at least has a bit of balls, some aggressive thrash style riffs pumping away but it’s marred by weak vocals. Overall, Arion do little for me and whilst life may not be beautiful this is just plain  average. 5/10

Widetrack: Widetrack III (Self Released)

This is the third album from multi-instrumentalist Ron Tippin. The American formed the band in 2007 and released two albums in quick succession before a series of personal challenges caused a hiatus in the band’s status. Having finally got his shit back together with the support of guitarist Brian Burleson, a lifelong friend and fellow Pink Floyd devotee, and enlisting his young son Zach on bass, Widetrack III finally emerged. 12 songs which range from Tool to The Smashing Pumpkins in style and approach, this is a expertly composed and produced album, containing some superb guitar work and with a general appeal to those whose tastes in music may be considered a bit more sophisticated with a range of moods and reflections, generated with an ease and quality which appears easy. Ghosts, Gift and the impressive Life Force are cleverly constructed in an album that provides both an easy and challenging listen. 7/10