Reviews: Ævangelist, Malphas, Devil's Hand, Infinita Symphonia (Reviews By Paul S, Rich & Alex)

Ævangelist: Matricide In The Temple Of Omega (I. Voidhanger Records) [Paul S]

Ævangelist are a 2 piece from the states, Matricide In The Temple Of Omega is the bands 6th album coming less than a year after their last album Heralds Of Nightmare Descending. Ævangelist are a very unique band, in fact, I’ve been having real problems working out how to describe the band’s sound to you. In many ways they are similar to bands like Portal or Deathspell Omega. Don’t get me wrong, they don’t sound like either of those bands (ok there may be some similarity in riffing with Portal), but both those bands are also unique and very difficult to classify (how dare these bands make it difficult for reviewers like me, is it too much to ask that they make their bands easily pidgenholeable?).

At the end of the day Portal and Deathspell Omega sound like themselves, there isn’t anyone else who sounds like them, and Ævangelist are also in a genre all their own. While I’ve been trying to work out how to describe MITTOO to you, the two things that keep on coming to mind when I listen to this album aren’t albums, they are William S Burrough’s book “Naked Lunch”, and the paintings of Francis Bacon. It feels the way that book makes you feel, and it sounds like a Francis Bacon painting looks (I realise that that is probably no help to you, sorry). The album starts with an intro called Divination, which is nasty discordant noise with a disturbing voiceover (disturbing voice overs are a theme on this album). We are then launched into Æon Deathnell and we get our first taste of the madness of Ævangelist. It isn’t really death metal and it isn’t really black metal, it’s difficult and dense, and feels like it could spiral out of control at any moment. Blasting drums, massively detuned riffs (that may sound a little like Portal), guttural, harsh vocals and the thing that makes this all stand out from the crowd, a sorrowful, wailing melody lead guitar that echoes mournfully over everything else.

This lead guitar, that is by far the loudest thing in the mix, sometimes works with the rhythm guitar, but most of the time it works in total opposition to the other instruments. The effect is in many ways cacophonous, and chaotic, it feels like the album is continually changing, seething and whirling around the listener, this could have been unpalatable, but in many ways it’s the chaos that draws the listener in. Omen Of The Barren Womb begins with a disturbing voiceover before tipping you back into the maelstrom of derangement. The track is slower, but that doesn’t make it any easier, the lead guitar feels more echoey, and that keeps making the track sound bigger and bigger. The Sonance of Eternal Discord starts with a genuinely disturbing voiceover before it continues the craziness, but makes it faster so, well, crazier. The second half of the track keeps on getting more and more intense and over the top, by the end of the track it is almost too much…. almost. Serpentine As Lustful Nightmare starts with dissonant, discordant guitar that feels dirge-like, and slowly builds till we are back with the chaotic feel again, but this time it just keep getting more and more. The second half of the track is just insane swirling chaos, but in such an amazing way it’s totally immersive, and feel like nothing else I’ve ever heard.

Final track, the 18 minute Ascending Into The Pantheon continues the Insane Swirling Chaos for the first half of the song, but changes, for the first time on the album it feels like everything is pointed in the same direction. This is the part where it feels like the lead and rhythm are working together to batter the listener intro the ground. The ending having this purposeful, more direct sound brings the album to a suitable conclusion. Matricide In The Temple Of Omega is an amazing album. It isn’t easy, but it isn’t meant to be easy. The album is intense, brooding, agonising, difficult, dense, chaotic, cacophonous, mournful, dirge like, wailing, and incredibly brilliant. If you like either of the other bands I’ve mentioned in this review, you should check this album out. If you like music that challenges you, that is difficult but ultimately rewarding, then this could be for you as well. Personally, I love it, even if it scares me a little. 9/10

Malphas: The 39th Spirit (Via Nocturna) [Paul S]

Malphas is a 5 piece from Philadelphia, the band have been going since 2012, they have released 1 EP (The Conjuring) in 2015 before this album. The album kicks off with Invoking The 39th Spirit, which starts with a slow build up before exploding into some fantastic neo-classical melodic death metal. The main frames of reference on this album are Children Of Bodom or Fleshgod Apocalypse, not as fast as Fleshgod, but it has the same beautifully florid piano and keyboards. The riffs are complex and melodic, very tuneful and with a complexity that is impressive. Floods has a more direct feel than the opening track.

The track doesn’t mess about, with a driving rhythm and powerful chorus. Legions is a faster track, it has a more aggressive feel to it, and also has a great chorus backed up by a choir (possibly a choir that lives in a keyboard, but it could be a real one). The track also boast a great solo. You will lead My Armies starts with very neo-classical piano before going into some very fast riffing, with some fantastic guitar work (The standard of musicianship on this album is great throughout). Red Constellations keeps the neoclassical feel to it, but is slower, with a more relaxed pace. In fact the tempo of this song is very close to a 3:4 waltz timing, which isn’t very common in metal, but fits very nicely.

The album carries on with very well composed and played melodic death metal. Lots of keyboards and strings, but they have managed to keep all the different elements controlled so it never becomes cluttered or chaotic. The album ends with Heavens Fall parts I and II a pair of huge, epic pieces of melodic death metal. Both tracks are fast, with lots of strings and choir elements that make this a very powerful, but tuneful way to end the album. The 39th Spirit is a great album, particularly as it is a debut album. The band should feel proud that they have produced such a complex, melodic, mature piece of work as their first try at an album. 8/10

Devil's Hand: Devil's Hand (Frontiers Records) [Alex]

Proving proudly retro with a distinctively modern production quality, Devil's Hand is the child of a collaboration between Last In Line singer Andrew Freeman and former Warrant guitarist, Mike Slamer. With that history, they forgivably flaunt their influences in Glam Metal and 80s Classic Rock. Say what you want about the cliché, overindulgence, and ridiculousness, the acts associated with that genre always knew their way around a strong chorus. In fact, that is the most glorious facet associated with this debut. On every song, the gleaming production brings every melody, every crunchy riff, and every futuristic keyboard hook. It’s by no means perfect, and I wouldn’t say it lives up to some of its inspirations, yet it is undoubtedly a fun and amusing piece of modern hard rock.

Determined to start on a motivating note, We Come Alive opens on blaring synths and a crisp guitar part. A driving tempo climbs to a catchy chorus before the pay-off of a soaring lead solo. A tried, tested and wholly unoriginal formula? Absolutely. Some may protest at that, as I’m slightly tempted to, yet like many, I’m not one to resist a throwback, especially when it’s danceable and performed by people with a history in creating this very feisty take on rock n roll. Falling In, Another Way To Fly and Rise Above It All are equally as memorable, and the addition of little quirks in the vein of female backing vocals or subtle keyboard effects, adds to the overall aesthetic of a contemporary metal album, with a classic sound.

Overall, I enjoy Devil's Hand not just for perfecting a tried and true formula to my satisfaction, but also for its tasty instrumental flourishes and striking Songwriting. My main criticism is that it doesn’t quite go completely above and beyond, in the way in which regular readers of my reviews will know that I admire. Keeping an open mind though, there’s a lot of fun to be had with this project, and is one definitely worth the time of anyone with a fondness towards light-hearted and anthemic rock n roll. 7/10                 

Infinita Symphonia: Liberation (My Kingdom Music) [Rich]

Liberation is the third album by Italian progressive power metal band Infinita Symphonia.  Liberation isn’t much of a progressive record being a far more straightforward power metal album and a fairly good one at that. This style of power metal throughout the album is very riff driven and chunky sounding with a suitably pounding rhythm section. The vocals by frontman Luca Micioni carry the strong melodies throughout and he has an impressive range with a rich mid range to ably nailing those power metal wails.

As well as the impressive vocals of Luca Micioni the album has several guest vocalists including Ralph Scheepers, Blaze Bayley and Alessandro Conti.  The album does have a few missteps though. The opening song is an atmospheric intro with plenty of synths and symphonics that builds and builds only for the following song to completely deflate that build up. The album also has a bit of a lull during its second half for things to pick up with the enjoyably epic title track only for the end of the album to become a complete anticlimax thanks to a completely unnecessary 11 minute instrumental closing track.

When this album is firing on all cylinders it is very good indeed with the title track, Never Forget and How Do You Feel being particular highlights for me.  Liberation is a good power metal album but its inconsistencies and some questionable pacing choices prevent it being anything above good. 7/10

Reviews: Torque, The Tangent, Juniper Grave, Skies Turn Black (Review By Paul H)

Torque: Torque (Mascot Records -2019)

There’s been quite a deluge of reissued music from bands who barely scraped across the line the first time around. Often hailed as “underground classics”, it’s often complete bollocks. Bands who managed to shift a couple of hundred tapes in 1986 are rarely any better now and often they should be left to rest where they originally crashed. So, what does this rant have with Torque. Well, for thrash aficionados amongst you, Torque were an American thrash band that formed from the ashes of Vio-lence and featured Phil Demmel alongside Ray Vegas on rhythm guitar, Deen Dell on bass and drummer Mark Hernandez.

Originally released in 1994, this was the one and only album the band made. It’s raw, at times chaotic and extremely gnarly. With Demmel not only laying down the vicious guitar work he’s renowned for but also some notable snarling punk fused vocals, this is a blisteringly good thrash album. A surprisingly varied spread of tracks for a thrash band, there’s the Suicidal Tendencies stomp of Dead You Lay, the all-out aggression of H.L.S. and the more developed longer tunes including Nothing and Hand Over Fist. It throbs, it rolls, and it is as persistent as a snotty toddler. Old school in flavour and style, this is one album whose resurrection I welcome. 8/10

The Tangent: Proxy (Inside Out)

Formed initially as a one-off project, 15 years later The Tangent continue to produce progressive music crammed full of cinematic projections, clever lyrical narratives and intricate meandering music that harks back to the era of first space travel. Listening to Proxy and Supper’s Off on the day that the UK government managed to surpass itself with the biggest dog’s breakfast since Neville Chamberlain’s declaration of peace in 1938, you can’t help but agree with the vitriolic observations which are in my view, spot on. Whether keyboardist Andy Tillison imagined that in 2018 he’d still be pushing forward with the band is anyone’s guess but full credit to him for continuing to shape his lyrics with anarcho-punk angst rather than what someone new to the band might expect. 

As Tillison once stated, “there are no hobbits or orcs in our songs”. With a steady output since 2003’s debut The Music That Died Alone and a revolving door of musicians, it’s clear that this is Tillison's ship. This time around he features the talents of Luke Machin on guitar, Theo Travis on saxophone, flute and clarinet, long time conspirator Jonas Reingold (from Swedes The Flower Kings) and Marie-Eve de-Gaultier on vocals and keys. Musically it is a challenge to pigeon hole it at all, but with jazz fusion, rock, and space rock all in the mix, there is much to appreciate. The Adulthood Lie provides elements of Marillion, whilst there are numerous other links amongst the other six tracks in this 67-minute opus; think ELP, Caravan, Yes, Gentle Giant, Magenta and even Deep Purple and the faintest hint of Opeth. It’s either fabulous or a crock of shit. I favour the former. 8/10

Juniper Grave: Of Hellions And Harridans (Wasted State Records)

Arising from beyond the grave, Edinburgh four-piece Juniper Grave’s debut release Of Hellions And Harridans is a seriously good listen if you like your hard rock dripping with black magik, heavy riffs and a good dose of the occult. Blatantly stealing the best of bands such as Blood Ceremony, the band, Jenni Sneddan on lead vocals and organ, Shonagh on guitar and backing vocals, guitarist Sarah and drummer Jason have crafted 40 minutes of enchantment which quickly captivates the listen with its addictive style. Touching on elements of the Blues Pills alongside the darker side of our world, tracks such as the epically haunting The Bridge Between Worlds (which captivates with its Celtic undertones) and Dance Of the Daemon Queen show huge promise. As the year comes to a chaotic close, a dose of Juniper Grave is certainly most restorative. 7/10

Skies Turn Black: No Place Like Home (Self Released)

Most definitely for fans of BFMV, Avenged Sevenfold and Trivium, North of England four-piece Skies Turn Black have made no secret of their influences on this debut album. Whether their sound is ‘a modern approach to classic heavy metal’ is open to debate. They may well have the arena filling choruses that make those outfits so popular with the mainstream metal fan but is it anything that really vies for attention in an overcrowded market? It’s clean, melodic and the duel guitar sound neat enough but I struggled to have it on as anything more than background music. Occasional flashes of interest faded quickly into mediocre arena metal which does absolutely nothing for me. Maybe Alex should have reviewed this. He may well have given it a higher mark. Sorry. 5/10

Reviews: Amon Amarth, Pale Divine, A Pale Horse Named Death, Beth Blade & The Beautiful Disasters (Reviews By Paul H, Paul S & Matt)

Amon Amarth: The Pursuit Of Vikings: 25 Years In The Eye Of The Storm (Metal Blade Records) [Paul H]

Few bands cross the divide between death metal and the mainstream like Sweden’s Amon Amarth. Formed in 1992, the band have faithfully followed the Swedish melodic death metal sound, combining artillery shelling drumming, savage riffs and bludgeoning bass with melody and hooks that appeal to thousands of metalheads across the globe. The band has moved from clubs to festival headliners and put in enormous amounts of hard work, blood, sweat and tears to get to the top of their own mountain. In 2017 the band headlined the Summer Breeze Festival in Germany and this live album accompanies their DVD which charts the band’s history and development. It’s a similar set to that which saw the band destroy the Friday night at Bloodstock 2017, crammed full of the classic Amon Amarth tracks that we all know and love. 

When listening to this a couple of things are clear. 1) Amon Amarth are a bloody good live band,  their hard and fast riffs driving each track forward 2) They have a formula which works and they rarely stray from it 3) they have some magnificent songs – Cry Of The Blackbird, Death In Fire; Runes To My Memory and Twilight Of The Thunder God never get boring and 4) Johan Hegg has made his growling roar go far further than it should have. They may be a little cheesy for the elitists, with their epic songs probably a little too sweet to stomach, but I’ll stand by the fact that I’ve never left an Amon Amarth gig with anything other than a smile on my face. This album captures the band at their best, full of confidence and battering all who dare to stand in their path. If you can listen to Destroyer of the Universe and tell me that this isn’t utterly fantastic, then you are an absolute arse. This is magnificent stuff from a band who every metalhead should respect. 8/10

Pale Divine: Pale Divine (Shadow Kingdom Records) [Paul H]

Pale Divine are a trio from Glen Mills, Pennsylvania who play some fantastic doom filled metal on the inevitable subjects of death, religion and misery. This is their fifth album, having hit their debut way back in 2001. Full of crashing, mountainous Sabbath style riffs with typical harrowing vocals that we’ve come to expect for this genre. The eight-minute slab So Low, a menacing beast of a track, is so broad that you’d be forgiven for thinking the band is at the very least a four piece. Ron McGinnis produces massive bass lines that tremble the earth, Greg Diener’s echoing vocals chill the marrow, whilst his fuzzy distorted guitar reverberates around the room; the track accelerates as it reaches its climax and whilst the Sabbath/Sleep/Trouble influences are evident, there is enough here to avoid it being a mere copy.  In fact, the whole album is just huge; the retro sound works superbly with evil riffs on tracks such as Curse The Shadows with its Children Of The Grave breakdown, opener Spinning Wheel which has Iommi written all over it or the closing Ship Of Fools. This is one hell of an album that is most definitely worthy of a listen. 8/10

A Pale Horse Named Death: When The World Becomes Undone (Long Branch Records - 2019) [Paul S]

A Pale Horse Named Death are a 5 piece from New York City, this is their third album coming 5 years after Lay My Soul To Rest. There is an elephant in the room with this album, which we might as well deal with straight away; Type O Negative. A Pale Horse Named Death have two former members of Type O Negative in their lineup in Sal Abruscato and John Kelly. So, do they sound like Type O Negative? Of course they do, but as they were in Type O, I’d feel a little disingenuous criticising them for that. The overall sound on this album is about 70% T.O.N. and the rest is early nineties grunge, particularly in the vocals as Sal Abruscato doesn’t try to do a Pete Steele impersonation.

So, slightly grungy gothic metal. The similarity to Type O Negative is in some places quite blatant. On at least 2 songs I have been able to compare to particular songs. Love The One You Hate is so similar to Christian Woman, at one point I started singing along with the wrong lyrics! Dreams Of The End is very similar to Type O Negatives cover of Summer Breeze. The Type O Negative feel goes right through the album, but it is more of a feel rather than anything specific (except on the 2 songs I’ve mentioned). Vultures has a very dark and heavy feel to it, taking the sound closer to doom than gothic metal, which gives the band a bit more of their own identity. Another track that gives the band a little more originality is the track Splinters, where the verse section has very sparse clean guitars, which combined with the way the vocals are handled give the track an individual feel. The vocals have that grungy feel that reminds me of Alice In Chains.

Another place this grungy feel comes in is on the track Lay With The Wicked. This is a great track that has some very interesting things going on with the vocals, it also has a great chorus and a pacing that feels relaxed, and calm. As an old Type O Negative fan, I’ve really enjoyed this album. I genuinely don’t think this is any sort of cash in, as this is half of Type O (who were a real band, not just Pete Steele with some session musicians) you have to expect some similarities. I’d recommend this to anyone who was a fan of Type O, but also to anyone who was a big fan of early nineties rock and metal. This is a very solid album, definitely worth a listen. 7/10

Beth Blade & The Beautiful Disasters: Show Me Your Teeth (Self Released - 2019) [Matt]

So the second album from Cardiff based Beth Blade & The Beautiful Disasters sees them exploring more of the Halestorm sound that they brought on the debut album, however here they have also dipped their toes into other rock n roll styles all wrapped in the slickness learned touring with names like Black Star Riders, Tyketto, Y&T and Kiss (as part of the Kiss Kruise). Led by the gritty, melodic vocals and punchy riffs of the eponymous Beth, tracks like Give It All You Got come directly from the Paul Stanley sing-along songbook with it's poppy chorus and big solo section.

 Elsewhere the title track has the Halestorm guts, On And On has that BSR/Lizzy dual harmony groove, yes there's a ballad called Crazy but mostly there's plenty of hard rocking that builds on the foundation of their debut, with glam stomp of 1974 and the hard bitten Jack And Coke being two of the best picks. Everything has been honed by the almost relentless touring schedule and it's led to the improved their writing for this record, it's not a more mature (proper hard rock isn't) but the songs are a little more arena baiting, build to be played in front of thousands not hundreds. 7/10       

Reviews: Nordic Union, Thomas Giles, Kosm, Wardruna (Reviews By Alex & Paul H)

Nordic Union: Second Coming (Frontiers Records) [Alex]

A power metal act with symphonic elements, in principle Nordic Union, is perfect to my taste. I adore when there is a strong pulse of theatricalism pulsing throughout the metal, to relinquish on the intensity which the genre traditionally relished. Yet the combination also has the glaring potential for failure. While Second Coming possesses some inspired ideas, it doesn’t earn itself a place among its inspirations or leaves enough of a grandiose impression for my liking. Without a doubt, there are insanely enjoyable moments scattered throughout. Walk Me Through the Fire, has a stomping beat, a determined chorus and a sense of tension as the anthem climbs upward in intensity. Proving the heaviest song here, The Final War is driving, its gnashing distortion imbuing a sense of defiance and bravery. Even, The Best Thing I Never Had proves an excellent example of how to perform an inspirational anthem right. Make no mistake, a lot of the tone set here is still pompous and over the top – for power metal especially, braggadocious glamour has become something of a defining feature – yet it is executed in a way which inspires a sort of self-mocking humor.

Problems come on moments which try and embrace a slower pace while continuing on an epic scale. Take It Burns: Starting off gloriously enough, we hear a lone and solemn piano before an explosion of joyous guitar’s storm in, a point which further shines on the euphoric lead parts at the end of the song. For the larger part, however, we ride along at mid-tempo, the underwritten melodies, and tame rhythm instrumentation undermining my investment. While such a small blunder would not usually worry me, it becomes a recurring problem. Because Of Us, New Life Begins and Rocks Still Rolling, while bringing to life some great instrumentation, would benefit enormously from deciding on a direction, by becoming either reserved ballads or raging Stormers. Instead, they occupy an awkward space in the middle, which takes away from the ambitiousness and adds to the cliché.

At its finest, Second Coming is a fun, exciting, and unashamed album. At its most disappointing, however, it is a belated attempt at executing the theatrical sound, which falls short of landing the essential punches which are needed to create a truly impressive experience. I admire its lofty ambitions while lamenting its lackluster finishing. 6/10

Thomas Giles: Don’t Touch the Outside (Sumerian Records) [Alex]

I’m not sure what I was expecting from a solo project by the Between The Buried And Me frontman. Perhaps a more stripped down, minimalist work in a stark departure from the proggier styling he is known for? Or maybe it would be a different take on a heavy, and visceral style. Of the endless possibilities and predictions which swirled around in my head before pressing play, one which almost certainly didn’t spring to mind was how Don’t Touch The Outside actually sounds. I’m not for a second saying that the experiment is one gone wrong – I was quite intrigued by the vexing nature and the different directions the project goes in. Lurching from noise rock to ambient to experimental hip-hop, it’s difficult to distinguish it as by the same man who created alums like Alaska and Coma Ecliptic as part of BTBAM.

Openers, Church Friends and Incomplete are experimental and raw, the distortion and subtle electronics proving deeply disquieting. Like Giles’ prog material, the transitions are unexpected and full of creeping tension, yet the tone seems more angst-ridden than aggressive or crushing - a welcome departure indeed which demands your attention. Just in case there was for some reason any semblance of comfortability in the first two songs though, Radiate and Milan are ambient and strangely oriental pop ballads, which despite not being quite as multifaceted as my tastes dictate, are certainly an interesting and unique change. Then there's the hip-hop anthem I Win which proves weirdly uplifting and disturbing at the same time, the clusters of synth effects, beats and wordplay adding to the already puzzling journey I have already been taken on. Not content with the strangeness served up in the first half, the second attempts to execute ideas which are vaudevillian in their morose, yet modern in their progressions and instrumental flourishes. Take Mr. Sunshine, definitely one of the best moments on the entire record, Thomas begins on a contemplative and traditional note, before conjuring a maddened and inspired chorus, emanating space opera vibes.

Weather Moods/Panic Start proves equally as beguiling, starting as a barely coherent piece of beat poetry before exploding into a wonderfully erratic stints of theatricalism. Even the largely instrumental closers, Take Your Seats and 1709, insist on not staying static for too many seconds at a time, lurching between alluring electronics and enticing traditionalism. Almost schizophrenic in nature, Don’t Touch The Outside is unexpected until the closing moments, While I can certainly say I found this solo project interesting, its erratic persona can leave me feeling more cold and confused than excited. There are certainly great songs here which will be feasting on for years to come, yet I find the work as a whole to be held back by a desire to be different and latch on to as many stylings as possible. Again, a worthy effort, yet not one which is wholly coherent 7/10

Kosm: Cosmonaut (Rosenbridge Records) [Paul H]

Five-piece progressive metal outfit Kosm hail from Vancouver, British Columbia and their debut release Cosmonaut is an interesting one. Opening with the psychedelic Space Mead, which rapidly transforms into something altogether heavier, mixed with some ferocious picking and beefy drumming, one is immediately entranced by the clear vocals of Jessie Grace, who mixes in some ferocious growls to change the feel. I’d prefer her to stick to her clean vocals to be honest, but it doesn’t detract too much from a solid opening track. Drummer Sterling Paterson is relentless from the opening bars, switching from full-on death metal drumming to progressive jazz fills with ease.

At 66 minutes long, this is an album that requires staying power, but if you like the complexity of bands such as Tool, The Agonist, Mastodon, Gojira, A Perfect Circle and Animals As Leaders then you should welcome Cosmonaut with open arms. At times bone crushingly heavy, at others lighter and delicate, the undeniable constant throughout the album is the progressive rhythmic patterns that push the band somewhere between Tool and Mastodon. A rather tasty listen all round. 8/10

Wardruna: Sklad (By Norse Music) [Paul H]

Depending on your tastes, the fourth album by Norwegian music group Wardruna will either be stunning, or absolute bilge water. Formed in 2003 by Einar Selvik alongside fellow former Gorgoroth member Gaahl and Linday Fay Hella, Wardruna on record is now essentially Selvik (vocals and all instruments) and Hella (vocals and flute) with Gaahl long gone. As their Wikipedia page states, Wardruna is dedicated to creating musical renditions of Norse cultural and esoteric traditions. Using a variety of traditional instruments, the band has also enjoyed fame with their soundtrack to one of the Vikings Series. This album is Selvik singing Norse songs accompanied by the odd instrument such as Tagelharpe or goat horn. At 50 minutes it’s a bit of an ordeal, and you need to be in a very special place to allow this to wash over you and absorb the undoubted emotion contained here. I struggled to know what to score it but despite the undoubted quality here, it bored me senseless after about 20 minutes and by the time I’d reached the 15-minute Sonatorreck I think I was asleep with my eyes open. You may enjoy it. I didn’t. 5/10

Reviews: Chapel Of Disease, Space Coke, Bane, Green Death (Reviews By Paul S)

Chapel Of Disease: …And As We Have Seen The Storm, We Have Embraced The Eye (Van Records)

Chapel Of Disease are a 4 piece from Cologne in Germany. …And As We Have Seen The Storm, We Have Embraced The Eye is the band's third album coming 3 years after The Mysterious Ways Of Repetitive Ant. In all the research I’ve done for this review Chapel Of Disease have been classed as a death metal band, in fact their name comes from 2 Morbid Angel songs, but this album doesn’t feel that deathy to me. The first 2 songs are a mix of melodic death metal and melodic black metal. They have a strong melodic feel due to a melody lead guitar that runs through most of the material, in some ways a little like excellent British black metal band Wode. The second half of opening track Void Of Worlds is a curve ball as well. The song goes into a very pleasing soft section, with clean rhythm guitar and a lead part that is quite jazz like. This softer section has a part to it that is faster and actually sounds like Making Movies era Dire Straits! 

After a soft opening, third track on the album Song Of The Gods has a simpler, punky main riff that drives through the song, giving it a strong melodic theme. The song ends up sounding quite black and roll, it reminds me of some of Vreid’s material. Null begins with a soft melodic opening before settling down to a fairly doomy feel for the first 2 thirds of the song before getting all blast beaty for the last third, in a style that is quite reminiscent of MGLA. 1000 Different Paths has a very different riffing style to it, the vocals are also in a contrasting style to the rest of the album. Both riffing and vocals feel very gothic, but with lots of melody (something this album excels at). The final track The Sound Of Shallow Grey has that black and roll feel to it that was present on Song Of The Gods, in fact, in some places the riffing sounds more like a country rock album. 

It’s a great uptempo track that brings the album to a close with bags of energy. …And As We Have Seen The Storm, We Have Embraced The Eye is a very good album. It has lots of different styles, but doesn’t feel disjointed; the album is held together by it’s innate musicality and melody uniting all the disparate parts. This is a really enjoyable album, highly recommended. 8/10

Space Coke: L'Appel Du Vide (Self Released)

Space Coke are a acid rock/space rock 3 piece from Columbia. On their Facebook page, and on anything else they get to write they have used the statement “If the amp don’t smoke, it ain’t Space Coke” which after listening to this album, must be pretty accurate, you can almost smell the burning cones. Space Coke play a brand of huge psychedelic doom. Massive guitar riffs that are backed up by enormous Hammond organ riffs, at a tempo that makes head-banging mandatory. Title track L'Appel Du Vide kicks things off in suitably huge fashion, clean vocals fit in with the immense riffing, in a way that makes me feel a little stoned just listening. Kali Ma is a little slower and maybe a little more measured, but still mighty despite the slightly less over the top style. Corpsewood Manor is a cracking uptempo piece of rock. 

Probably the most direct track on offer here, channeling those early seventies riffs, maybe a little like Deep Purple (reminds me of Highway Star, now there's a great song to be compared to!) Next up we have a very good cover of The Velvet Underground's Venus In Furs, which Space Coke have made their own, but without changing it so much it is unrecognisable. After a short instrumental (Noise Jam), comes Lucid Dream, possibly the heaviest thing on this album, it has a very driving, powerful rhythm. Thelmic Ritual keeps the huge psychedelic rock/doom feel going. Before final track Evil, brings the album to an end in a kind of psychedelic, soulful way. Evil is half space rock half gospel soul. Evil is a cracking track, really original and a great way to end the album! I have really enjoyed this album! If you like hugeness, or massive riffs you need this album in your life! 8/10

Bane: Esoteric Formulae (Black Market Metal Label)

Bane were originally from Serbia, where they released 2 albums, before main-man Branislav Panic relocated to Canada. Esoteric Formulae is the first album since that move and since Branislav put together a new lineup. The music on offer here is basically melodic death metal with maybe a little melodic black metal as well. We get 10 tracks, an intro and an outro with 8 proper tracks in the middle. The first track The Calling Of The Eleven Angels kicks the album off with fast, tuneful melodic death metal. After a fairly uptempo beginning the song settles down to a mid-paced cadence, which seems to be a standard feel for Bane on Esoteric Formulae. The next song Beneath The Black has a fairly choppy thrash feel to the verse sections, with that mid-paced feel to the chorus.

The album continues in this vain, fast occasionally blasting parts, that always seem to go back to slower paced sections that feel interchangeable. Although all the bits on their own are fine, none of the songs on here stand out as they all have the same template. The only exception is the track Into Oblivion, which has a slower, more death/doom feel to it. The song feels like it has a definite intent, and is powerful and driving; by far the best track on the album. I realise that this review is probably sounding pretty negative, but this is in no way a bad album; it’s a perfectly acceptable piece of melodic death metal, very solid and enjoyable. However, there are a lot of good melodic death metal albums about at the moment, and if you are going to make this style of death metal you need to stand out. The songs on this album are just to similar, it needs more originality if it is going to stand out. A good, solid, but unremarkable album. 7/10

Green Death: Hallowmass (Combat Records)

Green Death hail from Des Moines they’ve been going since 2012 and Hallowmass is their third album, coming 3 years after Manufacturing Evil. According to the bumf that came with this album “Green Death are re-defining Thrash”, I have to take exception to this as, well, they aren’t. There are only 2 tracks on this album that come close to thrash (we’ll come back to them later). Most of the material is a fairly modern take on heavy metal. There are elements of power metal, doom, NWOBHM and even some Nu Metal mixed up here. A lot of it is quite slow and plodding, and doesn’t feel that inspired. The music is a problem, but the vocals are a far bigger problem. Vocalist Sol Bales has a pretty good voice he can hit notes and hold a tune, that isn’t the problem. The problem is how he sings. He has a style that is so over the top it’s almost comical. It feel like he wants to prove how well he can sing so much, he just tries too hard. 

There are places where he hits a big note and then half a dozen other notes as well in the style of Mariah Carey; which is fine if you are a pop diva, but on here it sounds like an affectation. It’s almost like a metal version of the posh voice your Auntie puts on when she is on on the phone. The ‘over the topness’ of the singing isn’t helped by the music being very low in the mix, Bale’s affectation wouldn’t be so irritating if this was mixed well. Probably the worst example of how much this album doesn’t work is on the track Sacrament, which is slow and plodding, with a terrible chorus, genuinely a dreadful, risible song. Another awful track is She Couldn’t Live which is slow and dreary. This is quite a frustrating album. Although at least 80 percent of it is dire, there is a quite decent 20 percent. 

The tracks I Am Eternal and last track Sickle And Scythe are really good pieces of thrash. Plus on these two tracks Sol Bales changes his singing style and suddenly it works. These are two great tracks! Bales voice gains a rasp and become a little harsh, and it’s great. If he’d sung the whole album like this, Hollowmass would be getting a much higher mark. The title track Hollowmass is a decent song. Although it isn’t fast and harsh, the vocals are handled in a much more subtle way, no histrionics, the chorus is very strong and it stands out on the album. Another way this album doesn’t work is that it’s too long, with 14 tracks, some of them quite long, Hollowmass seems to go on forever. Simply cutting 4 tracks would massively improve the album (although they might have a hard time working out which tracks to cut). 

This isn’t a good album. If the band can concentrate on the bits that work; the faster thrashier music, and harsh rasping vocals, they really could have something. But this album really doesn’t work. I am relieved that I have now reviewed this album, as I now can stop listening to it! 5/10

A View From The Back Of The Room: Molly Hatchet & Federal Charm (Review By Paul H)

Molly Hatchet & Federal Charm: The Globe, Cardiff

Music is usually one of the more certain things in life. You pays your money, you takes your choice but with a bit of research, knowledge and confidence you rarely get sold a dud. There are very few gigs that I’ve left feeling angry and disappointed. This gig took the prize for one of the worst I’ve seen in my 32 years of gigging. Leaving a close to capacity crowd on the pavement outside the venue for 25 minutes after the advertised doors was the first signal that this might not have been the best of evenings. No merchandise was set up when we entered the venue and although the bar was making a tidy profit it was gone 8.30 before support act Federal Charm (8) hit the stage. The Mancunians have spent the past few years making a large impact on the Planet Rock scene, and with three albums now under their belt they now have plenty of material.

Their blues soaked rock warmed the audience nicely, with tracks from their latest release Passenger mixed with songs from their previous releases. The band took their time to get going, but their energetic Zeppelin/Free influenced music was at the very enjoyable. I enjoyed Passenger when it was released earlier in the year and it is even better live. New singer and drummer Tom Guyer and Josh Zahler have fitted in neatly and for the uninitiated you wouldn’t have known any different. Original members Paul Bowe and L.D Morawski flank Guyer in a supportive manner, all throwing their own energies into a performance that clearly had attracted a lot of their own fans, judging by the response as the set developed. With 45 minutes to fill, the band made the most of their slot eking out every last second. Whilst they are one of a thousand bands in the ‘classic rock’ style movement that is so popular at present, Federal Charm do seem to possess something a little different to the rest.

And so we waited. And waited. And finally, at about 9:55pm, the current line-up of Molly Hatchet (4) ambled onto the stage. There is no excuse for this when your doors were advertised as 7:30pm. With Whitesnake’s Here I Go Again blasting through the PA, we had the farcical sight of the band waiting to start but seemingly powerless to turn the music off. No dramatic entrance, just a shambles, with lead singer Phil McCormack particularly disorientated. I saw the band a few years ago in London, with original guitarist Dave Hulbeck still on board (he sadly passed away last year) and they were so much tighter and professional. 

At last we got some music as Whiskey Man, Bounty Hunter and Gator County all pleased the packed house. But something was missing and it was that second guitar which makes bands such as Hatchet, Skynyrd and the Allman Brothers so special. The absence of that duelling sound makes Hatchet sound, well, ordinary. Bobby Ingram, guitarist since 1987 and sole owner of the Hatchet name and working trademark is a fine guitarist (as well as purveyor of fine pies judging by the size of him … that ain’t no small moon) but despite the keyboard work of John Galvin (hidden to many behind the speaker stack) it just wasn’t as warm and, well, Southern.

Four songs in and it was time for the band to have a break with a mundane drum solo from Shawn Beamer, whose flowing locks were constantly flowing throughout the evening thanks to a very strategically placed fan. It’s a well known fact that most of us here at Musipedia dislike drum solos and this was as dull as it gets. When the band meandered back on stage, McCormack announced, “It’s great to be back here”, before adding, “wherever here is. I only woke up ten minutes ago”. Whether he was being ironic or not, his performance was hugely disappointing, with an arrogance which I found particularly hard to live with. He appeared confused and at one point wandered across the stage to find out how many XL t-shirts the band had left for sale (Merch finally appeared ten minutes into Hatchet’s set). 

Whilst he managed the Southern drawl on the songs with ease, it was poor fare overall. By the time the band got to Fall Of The Peacemakers, I’d had enough and left the building with a heavy heart and many illusions shattered. Molly Hatchet were a band I loved for years and when I saw them in London I was overjoyed at being able to tick them off the list. Maybe I should have left them at that because the band we saw here were nothing more than a glorified tribute act.

Reviews: Corpsessed, Frozen Land, Johnny Gioeli, Oracle (Reviews By Paul H & Matt)

Corpsessed: Impetus Of Death (Dark Descent Records) [Paul H]

Imagine being trapped in a dark cave network with hordes of starving alligators hunting you down? Well, Impetus of Death is the soundtrack to just such nightmares which haunt your dreams. The chilling repeated riff on the opening title track with its pulverising wall of sound is just the beginning. Indeed, the whole of this second album by the Finns is akin to being hit repeatedly by a sledgehammer such is the sheer onslaught. Nikko Matilainen’s fine vocals are impressive, the man’s ability to hurl his voice at length in such a low growl impressive. At times this is malevolently dark, at other times eerily haunting but always the cavernous sound underpinned by the thunderous kick drumming of Jussi-Pekka Manner and enhanced by the duel slashing of guitarists Jyki Lustig and Matti Makela crushes with impunity. Graveborne, Paroxysmal and the massive Starless Event Horizon all deliver in an album crammed full of quality death metal. 8/10

Frozen Land: Self Titled (Massacre Records) [Matt]

The debut album from Finnish power metal band Frozen Land sees them comfortably trying to sound as much like fellow Finns Stratovarius as possible. That's not really to their detriment I mean Stratovarius are one of the most renowned power metal bands so if you're going to copy someone  then it's probably best to take your inspiration from the band that are one of your country's finest export. However this record isn't influenced by the songs here are almost identical to Stradivarius numbers. Vocally Tony Meloni sounds almost exactly as a young Timo Kotipelto with the band behind him filling your speakers with pumping classical keys, melodic guitars and a rhythm section that can get your fists in the air (Underworld) or your head banging (The Rising). There's little else to say I'm afraid if you like Stratovarius then you'll like this album, if not then I'd stay clear. 6/10

Johnny Gioeli: One Voice (Frontiers Records) [Matt]

Johnny Gioeli is probably one of the best vocalists around singing for Hardline, Crush 40, and Axel Rudi Pell to name three. He's made a name for himself fronting bands that rely heavily on melodic guitar driven hard rock and as such his first solo album does the same, big riffs are bolstered by keyboard lines from Alessandro Del Vecchio, who also produces, It means that Gioeli can unleash his smooth saccharine tones on the balladic title track or the Jovi-like Mind Melt the choruses are made for arenas you can hear the hordes singing them back. The influence of Mr Jovi is actually one that overwhelms this record and unfortunately it's the more recent Bon Jovi which it means that this is about as safe as you can get musically, there are very few risks and no matter how good all the musicians on this album are it can't make this album anything more than just above average. A real shame, it's certainly one for the fans but as that's the point of the record my opinion is muted. 5/10

Oracle: Live At Bloodstock 2018 (Self Released) [Paul H]

If you ever wanted to capture 25 minutes which aurally describes the intensity and desire that bands demonstrate when they hit the New Blood Stage at Bloodstock, then Northern Ireland’s bludgeoning thrashers Oracle have totally nailed it. Stunning in their passion and energy, with a crisp quality sound, this is exactly how I remember the band’s blistering show. From the opening bars of No God Waits For You, the pounding groove is monstrous whilst Jason Kerr’s gravel-soaked vocals suggest that he must have been unable to speak for days after this, such is the effort he applies. By the time the band demolish the remains of the tent with Burn The Nameless, you can hear then eking out every last ounce of effort. This is a superb recording of a superb band whose show in August was one of the highlights and if you want the visuals then hunt it down on YouTube. It’ll be well worth it. 8/10

Reviews: Bernie Tormé, Emigrate, Altitudes & Attitudes, Captain Caravan (Reviews By Paul H)

Bernie Tormé: Shadowlands (Retrowrek Records)

Having recorded over 24 albums in his career, reviewing a double album from a guitarist who has been around for decades was some challenge. I remember Tormé as the fresh-faced guitarist in Gillan, the band formed by Deep Purple singer Ian Gillan who I absolutely loved at the turn of the 1980s. Then Bernie picked up the challenge to step into the tragically deceased Randy Rhoads shoes for Ozzy, keeping the Double O from collapsing and maintaining the Crazy Train on the tracks. Since then this superb guitarist has delivered numerous solo releases as well as working with Dee Snider in Desperados and GMT with former Gillan colleague John McCoy and drummer Robin Guy. Shadowlands sees Tormé deliver a new double album, bursting with blistering blues-soaked guitar work.

His vocals aren’t his strong point, often reminiscent of Ace Frehley with an Irish drawl, but there is no doubt about his guitar work. Tracks such as Come The Revolution, One To Blame and the epic Forever demonstrate his quality. With his trio completed by drummer Mik Gaffney and bassist Sy Morton, this is 74 minutes of laid-back hard rock which can just be appreciated and enjoyed. A guest appearance from former Gillan keyboard player Colin Towns adds to the flavour, whilst the 15-minute Innovative Jam/Chaos Theory features contributions from pledgers. Quite how he’s managed to pull this together is a mystery to me, featuring the dark arts of studio magic no doubt, but it works. Tormé has recently completed his final tour, but there are no plans to hang up the guitar. If you like your guitar in the style of Rory Gallagher, with some free-flowing innovative playing without boundaries, then you should enjoy this release. 8/10

Emigrate: A Million Degrees (Vertigo Berlin)

I enjoyed the debut album of Richard S. Krupse’s project and was reasonably impressed by the sophomore release Silent So Long, which Emigrate released in 2014 and featured guest appearances from Lemmy and Marilyn Manson amongst others. Despite several spins, A Million Degrees has yet to really interest me in the same way. Opener War is a typically industrially tinged rousing start, but I struggled with the pop-style of 1234 featuring Billy Talent vocalist Benjamin Kowalewicz. Lead You On which features vocals from Kruspe’s current flame and French Ex-pat Margaux Bossieux had my attention with its catchy rhythm and haunting melody, its Depeche Mode style electronica working well. Not so impressive was You Are So Beautiful, the less said about that the better whilst the plodding We Are Together also failed to interest. 

It’s taken three albums but at last Till Lindemann finally makes an appearance on Let’s Go, adding lyrics in German on an anthemic electronic driven tune. I’m Not Afraid lingers in the memory, with Tobias Forge of Ghost adding vocals to a keyboard dominated track which could well have come from the pen of Cardinal Copia in parts. Some blistering guitar work adds a bit of meat to this track. The seeds of growth are buried deep in this album and repeated plays will probably get me spinning round the room. Certainly, penultimate track Spitfire has plenty of dance potential. Krupse has driven his band forward and whilst I’m not there yet, it certainly has moments. 6/10

Altitudes & Attitudes: Get It Out (Megaforce Records)

This is an interesting release to say the least. With the roots of the project formed way back in 2010, Altitudes & Attitudes combines two of the thrash world’s most important bassists in Frank Bello of Anthrax and Megadave’s Dave Ellefson, supported by A Perfect Circle drummer Jeff Friedl and Stone Sour guitarist Christian Martucci and additions from several guest musicians. Bello handles all the vocals and rhythm guitar work, Ellefson covering bass and additional guitar work. The result is far removed from the usual output that the two legends are renowned for. 48 minutes of solidly crafted melodic hard rock, very much in the vein of the Foo Fighters, with Bello’s clean and warm vocals surprisingly good. 

Every track on this album is a sing-along style, except for the instrumental Leviathan, which features guitar work from Steel Panther’s Russ Parrish (that’s Satchel to those that give a bollock about SP), and some Ellefson low-end eight string ESP bass work. Other luminaries contributing include Ace Frehley on Late, a throwaway paint by numbers hard rock track and Alice Cooper’s guitarist Nita Strauss on Part Of Me and Slip. There are some deep lyrical themes behind seemingly lighter musical songs, such as Out Here (Anthrax lead guitarist Jon Donais adding his fire), which sees Bello tackling the abandonment issues he felt when his father left the family when he was young whilst Slip documents his Bronx upbringing and the neighbour who fell into a spiral of alcohol abuse. 

You also get Gus G shredding on Here Again and Randy Walker’s Hammond organ on the brooding All There Is. If you like the Foos then you should love this album. If you want Anthrax and Megadeth you’ll be bitterly disappointed. However, if you appreciate melodic hard rock then Altitudes & Attitudes may well be a surprisingly good start to 2019. The band tour the UK for four dates in February before hooking up with Slash for his European Tour. 8/10

Captain Caravan: Shun The Sun (Cursed Tongue Records)

This is the debut release from Norwegian four-piece Captain Caravan. Sitting solidly in the Southern stoner rock drawer, Shun The Sun offers many surprises over 40 minutes of thunderously impressive crashing hard rock which allows fuzzy guitars to combine with explosive drumming and crushing bass. Meandering tracks such as Illusion Of Meaning smoulder with malevolent menace, the change in pace and tone alarming and sinister. Vocalist Johnny Olsen hits the spot, his strangulated drawl and strain merging with the chaos in the background. 

Eschewing the typical stoner approach, there is variation aplenty here, with the title track seeing Olsen pushing the vocal limits, BK Saestad adding psychedelic edged guitar work reminiscent of the great Tony McPhee in The Groundhogs, whilst the rhythm section can follow their own path as the track twists and winds its way independently of any constraints. The brooding Godkiller changes style once more, a hauntingly ominous vocal aided only be vocal harmonies and acoustic guitar to great effect before the band explodes once more into the groove licious Zombie Killer with a hook and undercurrent that demands you plug in. Shun The Sun is an impressive debut from a band who ooze confidence. 7/10

Reviews: Ayreon, Bloody Times, Blasphemer (UK), Deus Mori (Reviews By Matt, Rich & Paul H)

Ayreon: Into The Electric Castle - 20th Anniversary Edition (Mascot Records) [Rich]

Into The Electric Castle was the third album by progressive super project Ayreon released all the way back in 1998. It’s one of the fan favourites amongst the Ayreon back catalogue and so to commemorate its 20th anniversary the album has been re-released and completely remixed by Arjen Lucassen. Into The Electric Castle was an important album in Ayreon history. Previous album Actual Fantasy hadn’t sold as well as expected and wasn’t as well received by the fans so this was very much a make or break album. Thankfully the album was a success and ensured that Ayreon lived on. As previously mentioned the album has been completely remixed and sounds quite frankly magnificent. It doesn’t take anything away from the original mix of the album which still sounds fantastic but adds extra clarity and depth.

Although not my personal favourite from the Ayreon discography (01011001 will always be top for me) it’s clear to see why this is such a defining album for the project and such a fan favourite. It’s the classic mix of progressive rock, progressive metal, psychedelia, folk and electronica that Ayreon is so known for all combined into this magnum opus of a concept album spread across two discs. Arjen Lucassen didn’t hold back in his ambition with this album and the results show from the out-there science fiction concept to the frankly astonishing musicianship and songwriting throughout the album. As is given with an Ayreon album there is an impressive cast of vocalists throughout including Anneke Van Giersbergen, Fish, Sharon Den Adel, Damian Wilson and Peter Daltrey amongst others. This album also heralded the first appearance of drummer Ed Warby who would go on to drum on every Ayreon album from here on as well as the Star One albums. It was nice to revisit this album although listening to the album in one sitting is a mammoth undertaking as there is so much for you to take in.

Ayreon is a project that is definitely not for everyone with its science fiction concepts to the excessive and overblown sound and song lengths. I personally love this sound and look forward to hearing how Arjen Lucassen is going to blow my mind with every new Ayreon release. The formerly reclusive Arjen will be bringing Ayreon back to the stage in 2019 with several live performances of the entirety of Into The Electric Castle which will be a definite treat for fans. If you are a prog fan and have never heard Ayreon then this is a great starting point. 8/10

Bloody Times: On A Mission (Self Released) [Matt]

Bloody Times were founded by bassist and songwriter Simon Pfundstein, on the debut album he did pretty much everything except drums which were ably beaten by Raphael Saini. Again he's got Saini behind the kit but has ramped things up on the guitar front adding Kikidakis S. Nickolas for solos,  Balasz Fleischhauer, Marco Cossu, Rainer Pfundstein (Simon's dad) for rhythms and solos along with Judas for rhythms. The headline name though is Ross The Boss Friedman who plays rhythm and solos meaning that you can count this as another act the legendary guitarist has contributed too. Adding his chunky riffs and blistering solos to the record mainly to the 8 minute epic Alliance.

Behind the mic too is a name that fans of 'proper' metal will recognise; John Greely the singer of Iced Earth on their Night Of The Stormrider album (the one that really broke them) his muscular voice means that yes there is a big dollop of Iced Earth on this record but also the metallic power of Blaze Bayley (Die In A Hole) and of course Manowar. On A Mission is a stomping, fist pumping rager of a metal record, it's as I said classic heavy metal with roaring vocals, big chugging riffs, thumping basslines and pounding drum beats but unlike the hundreds of bands that do this style of music Simon clearly has a vision for this band that he began on the debut but he's managed to up the ante for this sophomore record recruiting some well-known faces to the band to really let it grow from a solo project to fully fledged Bloody Times are definitely On A Mission to bring back proper metal and its mission accomplished. 8/10   

Blasphemer UK: Lust Of The Goat (Grindscene Records) [Paul H]

Quite simply, this is a blisteringly excellent release. Intense and bursting with ferocity, this is death metal performed the old way. From the days of tape trading and when the scene was erupting with new talent. Having returned in 2014, Blasphemer have become a band that quite rightly are talked about with deep reverence. Lust Of The Goat opens the album, four and a half minutes of chainsaw guitars, demonic growling and abusive drumming. 

It’s tight, powerful and massively effective. Arno Cagna and Mass Firth’s double fret assault adds to the hideously monstrous sound, with the solo work lacerating. There is no let up, with brutality the watchword here. Suicidal Execution, Command To Kill, The Scythe and the bludgeoning heavy Nazarene all flatten all in their path. It may have arrived late, but this is one of 2018’s most impressive releases. 9/10

Deus Mori: And From The Trenches Bore Darkness (Self Released) [Matt]

We've seen Manchester black metal horde Deus Mori tear up the stage with our own Agrona in Fuel this year and we will again at Winter Eradication on the 15th December. So it's with glee that this debut EP landed in my inbox, although this being black metal this is the only glee that is present. What we have here is punishing, furious black metal that hails Satan, with a sound that pairs explosive black metal and a hint of punk similar to America's Necrot. Opening with the spoken word piece And From The Trenches a spoken word piece that laments the existence of God from one man who has suffered the horrors of the first world war. As the piece ends a furious bluster of tremolo picking bursts out of the speakers with some delightful D.I.Y production making the EP sound like those early black metal masterpieces.

It's Enecate and Exigne that are the twin axes here they play destructive riffs for Dødsklokken to scream out his lungs over, he's got harsh but clean sounding vocal that's almost echoed but totally understandable (which is rare). On Uprising Kronis adds a bit of cowbell and it's the first opportunity to hear Skogen's basswork when the track slows down, the punk element barrels in on The Guilty Ones which flashes by with aggression while Gospel builds before exploding into  None of the tracks are that long and it's rhythm that's the big winner here with lead breaks replacing any solos. The album is bookended by Epilogue a wartime tune played in the distance, augmented by blowing winds and crackling fires of battle lost. And From The Trenches Bore Darkness is a killer debut EP that hints at great things to come for the Mancunian band, come down to Cardiff on the 15th and see them in full flight. 8/10

Reviews: Serpent Lord, Godsleep, Theo, Scorcher

Serpent Lord: Towards The Damned (Alcyone Music Records)

Formed in January 2017 in Thessaloniki Serpent Lord are a metal band whose songs "talk about rituals, about magic and religions, about demons, so we try to create the appropriate atmosphere on our shows" so it's occult influences bullet belt wearing classic metal which sees them taking a more theatrical route on their stage shows using "two big banners with seals from Archangels, a table with skulls, candles, books about magic and a Testament and they put candles all around the stage. Also, they have two people dressed as monks near the banners" so they have the stage conjuring of Demon or Venom but musically they sound a lot like the classic heavy metal acts and the early thrash proponents albeit filtered through a modern sheen.

Bringing some layers of acoustic guitars in on Nephilim but the  Evvio Oitovo Iman takes its cues from the grooviest Rotting Christ sound, Sodom And Gomorrah takes more acoustics for one of the albums shortest songs almost like a classical interlude into the chugging Serpent, The Lord. Musically strong and vocally better than a lot of bands that hail from Greece doing this kind of metal, Towards The Damned is a great debut album that has had a lot of time to gestate the record and they have managed to create music that sounds like the early Iced Earth and as it ends with Seed Of Divine you do find yourself reaching for the play button again for another shot of proper heavy metal. 7/10     

Godsleep: Coming Of Age (The Lab Records)

Athens based stoner metal band Godsleep have returned with their second album after their 2015 debut album, Thousand Sons Of Sleep. In that intervening years they have replaced previous singer Kostas with Amie Makris who does a brilliant job behind the mic her voice reverberates over the repeating heaviness of first track Ex-Nowhere Man, she's got a vocal similar to that of Royal Thunder's Mlny Parsonz, Blood Ceremony's Alia O'Brien or Lucifer's Joanna Sadonis, it's more soulful and raw than a lot of female vocalists but perfect for the droning, distorted, heavy riffing.

Johnny who pulls out the Sabbath licks meaning that Dennis (drums) and Fed (bass) can bring the huge thick grooves to tracks such as N.O.U which has a thundering rhythm and some grunge-like drawling vocals, it's Puku Doom that gives a melodic break ready for Basic (The Fundamentals Of Craving) to bring some psychedelic trimmings with a ceaseless building riff that bursts into the final chorus. Coming Of Age is a record that opens up as it progresses moving into more space rock realms expanding on the heavy riffage for more mind melting noises as the track length increases. Great stoner metal from the Helles, crank it up. 8/10 

Theo: Through My Eyes (Self Released)

Big fat riffs kick off this second album by the eponymous Theo who plys his trade as the guitarist for Greek melodic death metal act Descending. This is not melodic death metal at all, here he tries his hand at more alternative genres such as stoner metal and alt metal, the creeping grooves of The Truth Is Grey introduces the swampy vocals of Thanasis making his tracks have the groovy sound of Alice In Chains, however his is not the only man behind the mic Dead Inside and the title track features Alex Wamp who has the Americanized roar of Ryan McCombs in his Soil prime.

Noir lends his vocals to the creeping No More Sound and punky In Limbo  and Fotis Tampas sounds a lot like Corey Taylor when he's in Stone Sour. All of the songs here have been matched to the vocalists meaning that there is a lot of different sounds on this record but most come from the American style of heavy metal. It's Thanasis who I have affinity with though as his vocals are the most adaptable and his songs are really the best here, other than that though the album is pretty standard modern metal, good to try something different but there's a lot more out there that's better. 6/10

Scorcher: System Of Time (Steel Gallery Records)

Coming at you from Serres in Northern Greece holding their swords high and covered in armour Scorcher are power metal band who are now on their third album and they sound a bloody lot like Swedish act Steelwing as the songs whizz by with furious dual guitar riffs, galloping basslines and powerful vocals. I'd also compare them to White Wizzard as they started out as a one man project by guitarist/vocalist Vangelis Tekas which has now filled out by Chris Tekas on bass, these two men have embraced the denim and leather mentality of that 80's metal sound. System Of Time has a lot of great hooks running through it with power metal, speed metal and NWOBHM all present and correct, they've even got a progressive streak on the epic In The End which is the penultimate song on the album. Nothing ground-breaking here but enough NWOBHM-like riffs to get you through a cold winter's evening, if you like a bit of the old-school metal then this will get some rotation. 7/10