Reviews:The Neal Morse Band, Leach, More Human Than Human, Saint Apache (Sean & Paul H)

The Neal Morse Band: The Great Adventure (Radiant Records) [Paul H]

It’s a return of the God-fearing guitarist and his band with a progressive opus that is gargantuan in both ambition and style. Huge synthesised waves echo throughout the release, whilst the guitar work is as spectacular as you would expect it to be. Polished and over the top, this double album kicks off with Overture, a ten-minute statement which freestyles its way in almost barely restrained chaos. Huge interplay between keyboards, organ, a battery of drumming and some raw guitar work is no surprise given the members of the band. With Mike Portnoy behind the kit, quality drumming is assured; Randy George is a multi-instrumentalist who has played with Morse in several band’s including Transatlantic and Spock’s Beard; Bill Hubauer is another well-known progressive artist who focuses on keyboards and synthesisers; Eric Gillette covers the lead guitar work, another who has worked with Morse for many years.

I’ve dabbled with Morse’s previous works, the saccharine rich quality usually made even less palatable by the underlying Christian themes that disagree with me on a level which gives me chronic indigestion. However, there is no doubting the quality on display here in. A double disc 22 song release, it is either impressive or incredibly overblown, depending on your view. Tracks on disc one includes the the pomp of Welcome To The World, the slow paced A Momentary Change which houses some neat guitar work as it evolves into another keyboard dominated track. There is plenty of evangelical breakdowns here, such as the hymns which underpin To The River, as the story evolves.

Plenty of religious iconography and references throughout this leave you in no doubt that this is another Christian themed album; “My father left me on the road, but the Lord lifted me up”. So, whilst the musical ability and technical quality can be admired, the lyrical content is an anathema to me, the soaring feel good and a hook unsurprisingly joyous and pure in comparison to my usual listening content. Disc one concludes with an unlikely Hey Ho Let’s Go, not a cover of the Ramones classic and another evangelical hymn in Beyond The Borders, all draining emotional vocal and soaring guitar. By this time, I’m beginning to think this is just a little bit over the top, but there is still another album to go!

Overture 2 begins the second part of this release, more soaringly heart tugging classical style, posing the question is this a musical soundtrack, especially when the church organ kicks off before Portnoy’s drumming pulls you back towards the rock path. A voyage of prog noodling commences, the occasional hard rock riff adding the heavy. When TNMB do rock out they really do rock, and for a few minutes here you can immerse yourself before the underlying Christian riff pops back into view. By now I’m beginning to think that this is too much duty to the cause. The other question I’m asking is who the hell buys this stuff. It really is a struggle to get through the feel-good God themes that overpopulate here. Long Ago continues the story, the clean harmonies and incredibly rich keyboards really testing the patience. I’m at the point of surrender by the time we hit As The Dream Continues, but I hold fast, waiting for something a bit heavier to arrive and Fighting With Destiny initially appears to answer my prayers, the huge drum sound driving the song forward with some massive keyboard riffs but then, oh dear, we get to Vanity Fair, an absolute steaming dog turd, which is at least partially rectified by Welcome To the World 2, that has a much darker edge to it but with the same refrain as the earlier Welcome To The World. 

It’s astonishing in its composition, the interplay remains intricate and complex, but it really doesn’t push my buttons. The Element Of Fear contains a snarling guitar riff that is completely thrown by some lightweight keyboard work, whilst Child Of Wonder is another ghastly song. Flicking forward to the finale, A Love That Never Dies, I applauded myself that I had managed to get through an album that is at times strong, at other times weak and always a real challenge to embrace fully. This is a massive review of an album I’ll never listen to again. Its religious undertones don’t work with me, the complex and progressive meanderings too much, but there are at times some real gems hidden within. If your bag is lengthy, progressive rock opera style music then you may well enjoy this. I wish you well. 6/10

Leach: Hymns For The Hollow (Self Released) [Sean]

Well, this ain’t bad. I’m not normally one to jam some hardcore, even metal tinged hardcore. It’s not something I've actively avoided as a few acts have are known to me, it’s more of the fact that we seldom crossed each others paths. Still, I’ve never been one to turn my nose up at stepping outside of ones comfort zone. Which brings us to Leach, a furious four piece from Sweden. What’s that? Me listening to Swedish and not a HM-2 in sigh?! Shockingly, there’s more to music than just Stockholm worship (no, really). Digressions aside, Leach have got plenty of wallop amongst the usual influences on this, their second offering, Hymns Of The Hollow. A bit of Punk’n’ thrash here, a bit of groove there and all the “man having a painful shit” vocals one could ever want. So press play, open a beer and open this fucking pit up!

First two track, The Untouchables and Free From All, are what one would with both tracks exhibiting the punkier side of Leach. No frills here though the playing is tight, to the point and energetic as all hell. Thrashier number, New Low ups the pace to frantic and brings the chunk. Straightforward it may be but you can’t deny the earnestness of the bands delivery. Chapter two is a similar beast, complete Hatebreed vibes, gang vocals and the emotive lyrical theme’s that hardcore tends to favours. Then it changes again, where Leach bring their full swagger to the fore with We Have It All. It’s quite the stomper, seamlessly fitting in the Hymns of the Hollows sound and Leach’s overall oeuvre. Framgangssagan and Do It brings us back to the thrash once more, bringing to mind the simpler moments of The Haunted. End Of An Era even manages to conjure fragments of Entombed’s groovier, death 'n' roll output (Inferno, for example), which can only be a good thing. It then finishes with the title track, a stripped down instrumental that feels a bit at odds with the smash-mouth antics preceding it. Still, an ends an end and onwards to the nitty gritty!

What we have here is an album that know exactly what it wants to do, by a band that know exactly what they want to be. Originality may be out of the window but who the fuck cares, it’s catchy as all hell. The tunes are tight, the riffs are thick, the production is massive and form start to finish, Leach sound like they fucking MEAN it. If Leach can win over this jaded cave dweller, then their sincerity and penchant for noisy fun will win you over too. 7/10

Saint Apache: Black Days (Self Released) [Paul H]

The third EP from Saint Apache, a four-piece alt-rock outfit from the South Coast of England. Full of politically charged angst and message the band power through this four-track release in no time. With influences from RATM through to Cancer Bats, you will be unsurprised by their focus and power. Opener Amongst Vultures kicks hard to the shines, whilst the band unashamedly continue to scream and shout in your face until closing track Tory Man by which time you are unable to do anything but acquiesce to their demands. Raw, wild and aggressive, this is a shouty, angry release which has a definite message to deliver. 6/10

More Human Than Human: Re-Evolution (Self Released) [Paul H]

I really enjoyed this album. It’s not the run of the mill metal that we get so much of here at Musipedia Towers. No, More Human Than Human is a groove-soaked two-piece from Cheltenham. The band is Tomislave Vucetic on bass and vocals and Anthony ‘Badger’ Collins on drums, synths and vocals. With heavy bass riffs, massive drums and searching synths, the band combine the progression of Tool with the power and energy of Royal Blood to create music that you can dance, mosh and drive to. Opening with the title track and moving quickly into The World Is Flat, it’s immediately apparent that the driving bass lines allow the groove to develop with an intensity that is addictive. Burn It Down and Open Your Eyes demonstrate that even with a mere two people you can create some interesting sounds; each track brings something different to the table and unlike some of the two-piece combos around today, More Human Than Human stimulate and interest from start to finish. Inevitably there is the cover of the White Zombie track that the band take their name from and it’s a decent version, with the thundering bass line and swirling synths capturing the passion of the original, some 24 years later. 7/10

Reviews: Avantasia, Hexvessel, Ghost Iris, Indestructible Noise Command (Matt, Paul H & Sean)

Avantasia: Moonglow (Nuclear Blast) [Matt]

I'll get this out of the way first, Moonglow features a cover of Maniac as the final track, it's not wanted, it's not necessary and frankly it sounds exactly like the Firewind version. There I said it! let's gloss over that travesty and focus on the original material, on this, the eighth album from Tobias Sammet's rock opera project Avantasia. Moonglow is the third entry in the storyline that started with The Mystery Of Time and once again the musical part of the album is core membership of Tobias Sammet (lead vocals, additional keyboard, bass guitar), Sascha Paeth (guitar, bass guitar), Michael Rodenberg (keyboard, piano, orchestration) and Felix Bohnke (drums). There is as usual a glut of vocalists playing the different parts in the story, from the returning singers such as Ronnie Atkins (Pretty Maids), Jørn Lande (Jorn), Eric Martin (Mr. Big), Geoff Tate (Operation:Mindcrime), Michael Kiske (Helloween) and (of course) Bob Catley (Magnum). Who all reprise their roles behind the mic along with new voices such as Candice Night (Blackmore's Night), Hansi Kürsch (Blind Guardian) and Mille Petrozza (Kreator).

These final two feature on Book Of Shadows which is the heaviest/fastest track Avantasia have done since the early Metal Opera with both Kürsch and Petrozza on top form, growling and howling in equal measure as a speed metal track flies by. It's this song that shows the massive difference in styles that Avantasia have had since The Scarecrow album once again taking the rock route over the early symphonic metal sound. There's another baroque Steinman-esque opener Ghost In The Moon serves as the sequel to the Eurovision entry Mystery Of A Blood Red Rose, a romantic ballad duet with Candice Night, an atmospheric, cinematic rock epic called The Raven Child. These sit side to side with heavy metal anthems that have Atkins and Tate at their best on Starlight and Alchemy. There is also a colossal AOR streak running through Lavender which has Sammet's hero Bob Catley channeling his Magnum pomp as a backing choir sings loud. It's another hard rock symphony from Sammet who has poured his heart and soul into this record over two years. That time is well spent every Avantasia album is a superb piece of work, detailed and intricate but also broad and excessive, the London show later this year is guaranteed to be a spectacle. 8/10

Hexvessel: All Tree (Century Media) [Sean]

I like this. I REALLY like the. No lengthy preamble here, just flat out recognition for one of the strongest releases of 2019 thus far. No HM-2 worship, no blast beats, shrieking or shredding. Nothing inherently muscular or aggressive so to speak, for that is not the purpose of this act I speak of a keen ear for melody, a fine balance of delicate instrumentation and copious amounts of wholesome, enchanting atmosphere. Naturally, I speak of Hexvessel, the Finnish based psychedelic folk rockers birthed from one of the most unlikely of sources. Formed by the former Code and Dødheimsgard frontman, Kvohst (or Mat as he’s known these days), these melancholic minstrels have been spinning bittersweet tales since 2011. With 2019 still in its infancy, Hexvessel return with 13 compositions of melodious melancholy and whimsical wonderings, their 5th release to date. So come, weary travel. Set down your belongings, draw closer to the fire and let tales of natures glory soothe your aching soul……

After the charming acapella of Blessing Hexvessel immediately work on weaving folk imbued magic with 2nd track, Song Of The Sky. A sombre number, vocal harmonies working in unison, taking on a more haunting quality some halfway through. The mood takes on an icy quality, the chord progression almost blackened in nature. It must be noted how perfectly balanced the production is, allowing each instrument dynamic space and clarity. We move on to the next tale, Old Tree, a mournful elegy to where a mighty organism once stood. Heartbreaking as it is haunting, with the fiddle tugging at the heartstrings as it sings in sorrow. Changeling introduces some gorgeous flute melodies, conjuring the feeling of being led through a forest. The pace quickens in Ancient Astronaut, with it’s rhythms more pronounced and a subtle sullen air permeating throughout. After the hypnotic instrumental of Visions Of A.O.S fades into nothingness, the radiant A Sylvan Sign washes me in it’s warm, sunny rays. I’m greet by the chirping of birds, the strumming of guitars and regaled with tales of ancient deities dancing in groves of deepest green.

Simply beautiful, both vocally and lyrically, with both violin and flute working in wonderful union. My body is filled with warmth, casting me to my earliest memories of frolicking free in the woods of my younger years. Simply magical. Wilderness Spirit is a jaunty ditty, jig like in nature and flaunting Hexvessel’s more playful nature. Sláinte! Ahem, Otherworld is a doomy instrumental, its grinding bass driving it until it surrenders to morose title track, All Tree. By far the most straightforward track on the album thus far, though fits neatly into the overall narrative of things. Another instrumental, Journey To Carnac, brings to mind a sodden stroll in a dreary town centre (*cough Bridgend*cough*). Liminal Light is a pensive piece that rises and fall, akin to the embers of a burning hearth and the thoughts that were given form in it’s flames. Closing Circles brings All Tree to a close, both a eulogy and a fitting end to our journey.

Though my word count is limited, such is Hexvessel’s charm and allure, it became utterly essential in illustrating how good All Tree is. Each song has its own distinctive essence, delivered with great compositional care and passion. The moods shift and shimmer, the sounds and songs, matching them effortlessly as Hexvessel weave their wondrous stories. You will feel joy, you will feel sadness but above all? After All Tree has faded into silence? You will feel elation and will immediately want to experience All Tree all over again. Buy it, listen to it and cherish it, for Hexvessel’s folk infused magic is impossible to resist. 10/10

Ghost Iris: Apple Of Discord (Long Branch Records) [Matt]

Long Branch Records is becoming the leader in progressive metalcore releases so you can kind of assume what Danish band Ghost Iris are going to sound like, technical riffs, melodic passages, heavy grooves and a wide vocal range. It's the sort of sound Monuments, Periphery and Northlane have been playing across the world for a long time and you could probably add Ghost Iris to that list as well as Apple Of Discord is their third record, so they've come a long way from being a Youtube sensation in 2015.

So what about their third album? I have to say it sounds brilliant production wise it's very clean and almost surgical at times, the same can be said about the laser focussed riffs and grooves, it's a bigger step forward musically from their two previous albums with a much more varied approach and some downright amazing vocals that growl and soar often in the same verse. A band who are going to make their mark on the progressive metalcore world this year. 7/10

Indestructible Noise Command: Terrible Things (Rock ‘N’ Growl Records) [Paul H]

Flawless thrash at 110mph kicks off the latest album but the legendary Indestructible Noise Command, Fist Go Rek demanding you stomp around the room thrashing like a manic. This is the follow up to 2014’s Black Hearse Serenade, an album which saw the Connecticut outfit continue on their path to crush all in their path since their return in 2010. A band whose roots sit back in 1985 when they first emerged spitting with anger, frustration and violence at the world around them, Indestructible Noise Command have grasped their second chance with both hands and with Terrible Things they return once more. It is frantic stuff, with the duel guitar work of Erik Barath and Anthony Fabrizi reaching insane proportions at times, such as on Identifier and the stomping groove of Declaration. Dennis Gergely’s vocals are spot on, screaming and expelling words with real venom. 

With Dave Campo on bass and Kyle Shepard on drums anchoring the whole beast in place, this is one snarly, gritty piece of work which presents no hiding place. What their live shows must be like frightens me because this is one angry fist to the face. The band hit hard with Pledge Of Legions, a rampant runaway horse which shows no intention of slowing down from start to finish; enjoy the chainsaw guitar work of the delightful Bone Saw Ballet, a thrash classic in the making with its visceral edge and chugging undercurrent of Exodus and Overkill. With so much mediocre thrash around these days, this is a welcome change. Fully embrace Terrible Things. Life will be better if you do. 8/10

Reviews: Woorms, 0N0, Illimitable Dolor, Snake Tongue (Paul S)

Woorms: Slake (Sludgelord Records)

Woorms are a 3 piece from Baton Rouge, the band formed in 2017 and Slake is their first album. Most of the material on the album would fit in to a sludge/doom/noise template, so lots of slow nastiness. The album gets underway with an intro that starts with Gregorian Chanting before going into some nice reverse guitars and other interesting elements. Next we have the first song with Find A Meal Find A Bed Find A God, which starts with a massive sludge riff, which is heavy and has a great head-banging tempo. Everything calms down for the vocals, far more subtle and brooding than the hugeness that came before. That huge riff comes back to drive the track along to a very satisfying ending, great piece of sludge. Veni Vidi Fucki starts with subtle guitar swells and a spoken word sample (the first of several). Once the massive riffs come back in we are in a very tuneful sludge territory, with some interesting rhythmic devices and very evocative vocals. Stiff Upper Lisp (great Pun), has a slow build up of drums and vocals before another huge riff (this album is dripping with huge riffs!) blasts off for a massive chorus, before it all slows and calms down for another subtle verse. The heavy parts of this song have a relaxed, lazy feel to it, that is slightly stonery in tone. Urine Trouble Now (another great pun, good work lads) has a swaggery, loose doom feel to it, the tempo is perfect for slow head-banging, and must be a cracking live track. 

Mouth Is A Wound has a weighty, simple riff at it’s heart, the track is very rhythmic, lots of lurching stops and starts, the vocals are very aggressive, in some places the vocals are spoken. Next up is the fantastically titled Our Lady Of Perpetually Shitfaced, which starts with feedback over a slowed down, slurred spoken word part, and then descends into fairly extreme feedback. Racist Kevin (not sure who Kevin is but he sounds like a fucking dick), is a short blast of mid tempo, alternative metal. Rise Crispy is a short, heavy mid-paced piece of doom. Great vocals and everything is done in a very interestingly rhythmic way, great track. The album come to a close with Sore Afraid a great flowing piece of doom, there is a bit of a similarity with some of Pentagram’s riffing. The tempo is just right for this sort of huge, lazy doom. Great way to end the album. Slake is a great first album. Interesting, heavy, challenging and enjoyable. This sounds like a band that would be great live. For a debut this is so impressive, I highly recommend you give this a listen. Still think Kevin is a dick, though. 8/10

0N0: Cloaked Climax Concealed (Transcending Obscurity Record)

Slovakian industrial doom/death band 0N0 have been going for 14 years, in that time they have recorded 2 albums and Cloaked Climax Concealed is their 4th EP. So, what have the 3 piece got for us on this release. Well, the EP contains 2 tracks, which come to 12 minutes. First track The Crown Unknown starts with a huge discordant riff, with added electronics. The rhythm lurches and staggers while harsh vocals complete the nastiness. Although there are lots of elements that are designed to be extreme and off-putting, there are also some clean vocals that have a softer, smoother feel; the combination of the 2 feels cathartic. 

The track has lots of layers, with added industrial factors, this gives the song real depth. Hidden In The Trees (Sail This Wrecked Ship), is a softer, less huge track than the one that preceded it. The song feels more expansive, it’s still discordant but is less aggressive. The second half of the track has clean vocals harmonies that feel uplifting and positive. Again, the overall feel is cathartic, despite the huge heaviness, and discordance. Although the EP is fairly short, the material is great, with a lot of depth. Definitely one to check out! 8/10

Illimitable Dolor: Leaden Light (Transcending Obscurity Records)

Leaden Light is Illimitable Dolor’s second album, coming 2 years after their self titled debut. The band (a four piece according to the press release I got with the album, but a five piece according to the bands facebook page, and a 6 piece according to one other research source I looked at) have at least 4 members, and have been going since 2014. The five track album starts with Armed He Brings The Dawn, which sets a template for most of the album, is a fantastic piece of death/doom. Although having said that, the death is in the vocal style and the guitar, bass and drum sound, but in many ways we are in huge doom territory. One rather unique aspect of Illimitable Dolor’s sound are keyboards, which are present throughout the album. On most tracks the keyboards sound like a massive church organ, giving this a unique sound. The guitars are playing fantastic, melancholic harmonies throughout. The combination of these factors gives the song a sense of loss and sadness, that is more in line with doom acts like Warning. 

The band have clearly sacrificed the anger and savagery of death metal for the pensive despondency of doom. Second track Soil She Bears has a softer and slower feeling than the track that came before it. The keyboards, although there is some church organ, mainly sounds like a piano. The track has a more desolate, depressive feel. The melodies are sadder, the pace; dreamlike. The track has a middle section that is just piano and drums, deeply melancholic, forlorn and so beautiful. The guitars return for the final part of the song, and they now fit perfectly with the mood. Horses Pale and Four starts with very slow guitar chords, but as with other parts of this album, the tempo is less about being heavy and pounding the listener, and more about creating an achingly woeful atmosphere. The track is heavy on the church organ, and it is the organ that feels like it is pushing the song on. The organ brings the inertia, the guitars bring the wistful unhappiness. Again there is a middle section in this song that is mainly Church Organ, but backed up with arpeggios played on the guitars. This forms a very beautiful section, before the drive returns for the rest of the track. Leaden Light Her Coils, starts with a gentle piano riff, played very slowly, and dripping with sadness. The guitars are heavy once they come crashing in, but the mood stays the same. 

The track slows for a section that is mainly organ with some dramatic drums and clean guitar riffs, by this point it’s almost too beautiful! The huge guitar harmonies, teamed with the organ are aback for the end of the song. Final track 2.12.14 is the shortest track on the album, and is mainly an outro. The track is keyboard swells, with soft, clean guitars, that bring this album to an end in a satisfyingly melancholic way. Leaden Light is a fantastic piece of work. Huge and beautiful, melancholic and cathartic. The part of me that loves Warning’s masterpiece Watching From A Distance, also loves this album. This album is not about extremity, aggression or nastiness; it’s about emotion. It’s achingly sad, wistful and cathartic. This is definitely going to be an album I’ll listen to when my Clinical Depression is giving me trouble. The only thing I have difficulty with, is believing that this band come from Australia. Bright sunshine, surfing, throwing seafood onto barbecues and drinking Fosters doesn’t fit with this music at all. I suppose it must be a reaction to all of that horrific happiness. 9/10

Snake Tongue: No Escape No Excuse (The Sign Records)

Snake Tongue are a Swedish hardcore band, they released their first album in 2016. On this EP we get 4 tracks that come in at 12 minutes. Corrupted Beat blasts strait off with some very aggressive hardcore, similar to All Pigs Must Die and in some places a little reminiscent of crust punk royalty Extreme Noise Terror. Fast barbwire riffs, aggressive harsh vocals and a pacing that batters the listener. There is a slightly softer, slower part in the middle, but that is quickly over and the song blasts to the end. Dystopian Slumber starts slower and with less aggressive riffing. However it quickly speeds up into some beautifully loose hardcore. Derailed starts with some very rhythmic aggressive punky riffs before kicking off into really great flowing hardcore, cracking song! Final track Hammer And Nail has an opening half that is slower than some of the other material on here, but is massively purposeful. The second half is much faster, and the song blasts to the end of the EP. No Escape No Excuse is a great piece of uptempo crusty hardcore, really energised and properly angry, highly recommended! 8/10

Reviews: Rotting Christ, Mammoth Weed Wizard Bastard, King Kraken, Razzattazz (Matt & Paul H)

Rotting Christ: The Heretics (Season Of Mist) [Matt]

30 years into their career the leaders of the Hellenic black metal are enjoying another purple patch with more recent albums Aealo (2010), Κατά τον δαίμονα εαυτού (2013), and Rituals (2016) and their incendiary live show cementing their appeal outside of Greece. Personally I did think Rituals was a little bit of a misstep however we are firmly back on form with lucky number 13 as The Heretics ramps up everything you want from a band at this point in their career, death, black, heavy, goth metal all creep in but it's still the extreme metal ferocity and head banging riffage that Rotting Christ have always been so bloody good at. The Heretics is an album about religion like nearly all of the bands albums are, the themes here are of religious wars, Zoroastrianism and the eternal war between good and evil. In The Name Of God is blasted along by drummer Themis whose drumming is blistering.

As the track is fleshed out by bassist Vangelis and Themis' brother and co-founding member Sakis who plays the riffs, adds the Gothic keys and samples as well as barks down the mic conjuring the dark spirits as he does, while the lead breaks and solos (which were missing from Rituals) return courtesy of George's lead guitar. Next Vetry Zlye (ВЕТРЫ ЗЛЫЕ) is some old school black metal as Grai's Irina Zybina bewitches with chants and she's not the only featured artist on the record as the crunching Fear God And Fire features some intoning from revered black metal author/historian Dayal Patterson for that truly religious feel before a brilliant guitar solo takes you too the death metal final part.

After only three songs you can hear that revisiting their past for the double compilation last year has done them a lot of good as every song does something a little different, Hallowed Be Thy Name is not a Maiden cover but rather a doom-laden march that is in opposition to the faster tracks that proceed it, it builds an atmosphere for Dies Irae which again is some ritualistic Hellenic extremity all crunching riffs and chanting while I Believe (ΠΙΣΤΕΥΩ) again brings the black metal blastbeats, the album is rounded out by the excellent The Raven featuring more intoning by Stratis Steele. A mesmerizing effort from Rotting Christ truly a band who encompass their Non Serviam motto, I can't wait for Lords Of The Land and Bloodstock now! 9/10

Mammoth Weed Wizard Bastard: Yn Ol I Annwn (New Heavy Sounds) [Matt]

Have the best named band in the world mellowed on their third album? That was a question I found myself asking while listening to it and if you look at any interviews the band has done surrounding the release you'll find your answer. There has been a deliberate move away from the skull crushing heaviness of their previous two albums; Yn Ol I Annwn (return to the underworld/hell) the final part of this conceptual journey sees the band exploring themes that mean the music has much more of an electronic, space rock edge to it, though there is riff mastery the band are known for.

Opening Tralfamadore is a sequence of pulses like it's trying to connect with aliens Close Encounters style. It leads ironically into The Spaceships Of Ezekiel which brings the crushing grooves of Paul Michael Davies, Wes Leon, James Carrington and Stuart Sinclair hit you straight in your ears as Jessica's haunting vocals soar above the distorted discord and electronic buzz. The sound of a Moog permeates this album adding a 60's psychedelic to the modern heaviness, though Fata Morgana just layers some clean guitar lines with the vocals before it builds into thundering sludge riffs.

The sense of melody that this album carries speaks to the bands desire for progression, Du Bist Jetzt Nicht In Der Zukunft is another song that sends defies the bands previous doom metal tag putting Vangelis synths with some sombre cello for a Floydian shimmer as the title track sits as the most accessible number on the record with heavy riffs that serves as the ideal beginning for the twisting Katyusha a 13 minute instrumental that does everything MWWB needs to musically while setting out the what is to come on the remaining two songs on the album, the titanic The Majestic Clockwork full of Moog and cello and the the final crunch of the epic Five Days In The Abyss. Guitarist Paul Michael Davies puts it like this "There's what I would call 'avant-garde' bits to it, and I wanted more of a sci-fi/soundtrack element to it as well as the usual heavy riffs" it's a cinematic album for sure the climax to a two album (and one EP) cycle, with a third eye looking to the future of the band. 9/10

King Kraken: S/T (Self Released) [Paul H]

This is meaty in every way. The debut EP from the South West Wales based metallers, it’s loud, saturated with more riffs than anyone needs and absolutely in your face. Opener Freak sets the bar high, the Southern style reminiscent of bands such as Hogjaw, Texas Hippie Coalition and the like. The intensity continues on The Grey, slightly slower paced but just as solid, a thumping back line ensuring that the hooks are memorable long after the music finishes. The Grey smoulders, brooding and malevolent before exploding massively into a riff fest which is guaranteed to get the head moving. I can’t wait to see these guys tear Fuel up at the M2TM heat. No let up for track three, the  epic Under The Sun, a track that bears more than a passing resemblance to the mighty Clutch, and we all know that is no bad thing whatsoever. 

Then we arrive at Heatwave, another massive chunky track, full of power and soaring guitar and the pounding drums of Richard Lee Mears anchoring the whole damn thing ably supported by Pete Rose’s rhythm guitar and the thick bass lines from Karl Meyers. Malk Donoghue’s vocals are majestic, whilst the lead work of Adam Healey is sublime.  I’ve rarely been so excited by such an EP, but King Kraken has a bit of everything. It’s heavy, by god is it heavy, musically tight and with a sound you cannot help but move to. Another demonstration of the quality in the South Wales metal scene at present, get yourself a bit of King Kraken as soon as you can. This is one hell of an EP. Massive respect. 9/10

Razzmattazz: Hallelujah (One Hallelujah Records) [Paul H]

Back in 2017 I reviewed the German outfit’s album Digging For Gold. It was a very routine release. So here we go again. Nothing subtle about this latest album whatsoever. The album cover features the band’s logo stamped on the arse of a female in tight shorts which just about cover her breakfast. That should give you a clear indication that this is balls out bar room boogie. Opening track A Gun For Hire is no nonsense rock n roll with absolutely nothing to either recommend or detract; it’s routine AC/DC style meat and two veg hard rock. Unsurprisingly it remains this simple for the ten tracks, tracks such as Crazy For Rock And Roll, the Accept stomp of Going Down (proving that the 1970s are. Still alive and kicking) and the finale of rifftastic As Loud As You Can. Loud and proud in a filthy rock bar after a few beers, I think Razzmattazz would be perfectly enjoyable. Would I listen to this otherwise? Probably not. However, it’s well played, well produced and bombastic in every way. Try it if you want to break speed limits. And the band still have the dog bandana for sale on their merchandise page.  5/10

Metal To The Masses South Wales 2019 Heat 1 Preview

Bloodstock Metal To The Masses South Wales 2019 – Heat 1 Preview

2018 saw one of the most dramatic and intense series of events as local bands fought it out to qualify for the Holy Grail of a coveted spot on the New Blood Stage at Catton Hall. As we know (because they never fucking shut up about it!), Democratus were crowned winners with the death metal of Cranial Separation nicking a Jagermeister Stage slot. Both bands worked incredibly hard to get to the final and Bloodstock and both represented South Wales magnificently when they had their 30 minutes.

This year we thought we’d preview each heat with a brief interview with some of the bands who are fighting it out to get into the next round. Ten standard questions, sent to the bands in advance, and no word count on how much they sent back. Let’s start at the beginning. Heat 1 and a vicious group of death to kick proceedings off on 15th February at Fuel. This will be a tough one with the experience of Blind Divide, finalists in 2018 going toe to toe with the extreme metal of Swansea’s Sepulchre, fellow Swansea stoner/doom merchants Urfe and the big heavy sound of King Kraken.

Blind Divide

We start our journey with the guys from Blind Divide and a potted history of the band from vocalist James.

“Blind Divide started out as another metal band in 2006 founded by a Russian called Pav. In 2007 Pav was deported and the remaining members formed Blind Divide, two of the remaining members are in the band to this day”.

Introduce us to the current line-up: “The current line-up has been in place since 2017 and is James Birkett – Vocals, Adam Duffield – Guitar, James Ponsford – Guitar, Declan McCabe – Bass, and Anthony Ellis – Drums

Describe the band’s sound “Straight up metal with progressive and thrash elements with a hint of groove”. And who are the main influences for the band? “Gojira, Lamb Of God, Mastodon, Rombonoscop” [this is going to run and run]

Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? “For a princely sum we would maintain it beautifully”. [do you trust Blind Divide to have honed horticultural skills? Not a green finger amongst them … then again, let’s move on quickly!]

So, what prompted you to apply for the M2TM competition? “Gluttons for punishment? We enjoy this competition every year it happens, regardless if we're competing or not. It always brings the best out in our scene and we're happy to be a part of it! “

What can we expect at Fuel? “Great deals on surplus E.Ps and t-shirts, we’ve written some new material for you lovely people too!”

There is a strong line-up this year and the competition will be fierce. It’s great to have a healthy Welsh Metal scene. Playing this event always seems to raise the game. Tell us a few highlights for the band since you started? “One highlight for us was accidentally working with Padge from BFMV on our E.P, A happy accident that we were happy to go along with! Following M2TM last year we had the great pleasure of supporting Wind Rose which brought many bands who had competed that year back all on the same line up, that was a great night. We recently started travelling into unknown territory starting with Hereford, we were invited up by the lads From Enmerkar to do a charity show in a skatepark, which was our first open air experience and hopefully it won’t be our last!”

Have you been to Bloodstock before? If so, tell us some of your experiences; why is it such a great festival? “Both James and James went last year, this is their statement: Great atmosphere, Awesome music, Burritos and drinking horns… YES!”

And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community?  "James Vocals practices bloodletting and arm touching; Dec’s beard is home to many species unknown to science; James Guitar shares his DNA with a banana and slenderman; Despite being 6’2 Anthony takes a size 3 shoe; Adams hair is slowly migrating from his head to his chin."

Sepulchre

Next up those extreme metal boys (and girl) from down West, Sepulchre and guitarist Dan who gives us the background to the band. “We started back in 2006 as a 2-piece death metal band but due to work commitments quickly stopped playing in around 2007/08. In 2012 we reformed again, releasing our first album Betrayed By God with a more complete line-up playing with well-known bands such as Desecration, Sarah Jezebel Diva, Bull Riff Stampede and also a few festival parts. In 2015 -2016 we had to stop due to an accident where I could no longer play guitar (I crushed my index finger and broke my thumb). 2016 saw us reform and make a new album entitled The Great South Western Depression and we haven’t stopped gigging since!!”

The current line-up is: “Darren: Vocals and Lead/Rhythm Guitar Aimee: Drums Dan: Backing Vocals and Lead/Rhythm guitar, James: Bass”.

How would you describe the band’s sound? “Heavy thrash metal!! we have crushing riffs, fast riffs, shredding solos and guttural vocals” And who are the main influences for the band? “Slayer, Carcass, Entombed, Kreator”.
Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? “Your lawn would be fine but your eardrums on the other hand that’s a different story; whenever we are together be it for a gig practice or just meeting up we always have a jam as that’s just what we love doing” [so the lawn will be okay – phew!]

What prompted you to apply for the M2TM competition? “We feel we were ready to play at a major festival such as Bloodstock. We’ve already got our tickets, we go almost every year and it is the best festival around”.

What can we expect from you at Fuel? “Our sets are always a surprise, even to us most of the time. I can guarantee one thing; you will enjoy it (or your money back)” [you have it in print although try and get a fiver back from Tim or Alyn and I’ll just wish you good luck!]

There is a strong line-up this year and the competition will be fierce. It’s great to have a healthy Welsh Metal scene. Playing this event always seems to raise the game. Tell us a few highlights for the band since you started. “Our Swansea shows have been amazing in the last year; the turnouts have been so impressive and seeing the same fans returning time and time again to see our set really fills me with pride. At the end of the day this band would be nothing without the fans; we love them all and it’s so great to see these people at our shows and it really seems like the music scene is really thriving now. Also, we’ve recently recorded our first full music video which for me was one of the most difficult but rewarding aspects of playing in this band.”

You’ve already said you go to Bloodstock every year so tell us some of your experiences; why is it such a great festival? “We go to Bloodstock almost every year. I don’t look at whose playing before I get tickets. I go for the atmosphere, we met Dani Filth, David Vincent and Tomas Lindberg there. I mean what more can you want from a festival except meeting your heroes and having a great time”.

And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community? "Myself Dan, Aimee and James, all have no knowledge of music theory. Also, I can’t click my fingers. James is a great cook, Dans got rubbish choice in women and Aimee is a drum machine in disguise; her timing is impeccable”.

King Kraken

Third up, the mighty stomp of King Kraken.

Drummer Richard Mears answers the questions. “The band started mid 2018 when Pete Rose advertised for musicians to form a new band to take on the local rock scene. After a few auditions and trials from people who were interested and a few tweaks, the line-up was secured. We literally started writing straight away. We already had a handful of demos and ideas flying about and have worked very hard to make them the very best they can be resulting in the very strong set we now play”.
Current line up introductions: “Malk Donoghue on Vocals, Adam Healey on Lead Guitar, Pete Rose on Rhythm and Backing Vocals. The rhythm section, Karl Meyer on Bass and Richard Mears on Drums”.

Describe the band’s sound. “Heavy, groovy, frantic and intelligent”.

And who are the band’s influences? “We have strong connection with those who obviously laid down groove and riff-based songs such as Hendrix, Sabbath, Zeppelin and Pantera but that doesn’t mean we sound like any of them. There’s probably obvious influence individually but the mixing pot is being thoroughly stirred during writing sessions helping us to hone in on “our thing”. We are in a very positive place now and are finding our own connection within the songs as you will see in the direction and delivery we produce live as well as recorded. You’ll have a twitch when we’re finished with you!”
So back to the Lemmy quote. “If we moved in next door to you, I think you’d probably have the nicest looking garden in the street, I won’t mention names but for someone in the band everything has to be in order and top notch condition, everything from choosing the right colour light for their amplifier through to which colour guitar goes with what shirt. It must match.... As I said, no names but I’m damn sure he’d be out there weeding in his tighty whities”. [Let’s hope the neighbours don’t pop their clogs for a bit yet then … not sure I’m ready for this!]

So, why did the band apply for MTTM? “We all know and keep an eye on the Bloodstock festival line-up and there’s always a mad rush trying to get tickets for any festivals we can get time off work to attend so to be in with an actual chance to play at the festival would be like winning the lottery for us, plus we’re well up for a scrap in MTTM competition. It’s good honest fun with fantastic support and is gaining momentum annually. There are some amazing bands taking part so to be able to go up against them is going to be immense! We cannot wait!”
What can we expect from you at Fuel? “What you can expect from us is heads down, dirty screaming and ripping off fingernails for a place at Bloodstock. There will be many casualties as we’re bringing an army. We aren’t taking this lightly”.

Tell us a few highlights for the band since you started. “We have been so lucky to be part of some special gigs over the past months, everything from supporting Adam Bomb during his UK tour, travelling the UK everywhere from Sheffield to Ilfracombe but the highlight for us was being chosen to support King 810 at Hobos Bridgend. What a fantastic night with comradery from everybody taking part. South Wales has an amazing family of musicians who respect and support each other and we’re enjoying being part of it! We have also written and recorded our first EP, which we are extremely proud of! (available at most online sources)”. [Nice plug lads, and a fine EP it is too]

Bloodstock experiences? “Bloodstock is presently the number one festival and being at the front row in 2017 for Megadeth was a highlight for our bassist Karl. Weekend drinking and watching amazing bands with mates is always a great feeling”.

And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. “Malk – he does a wicked impression of Tom Jones, the cowardly lion and droopy dog. Richard – finds it easier to play drums to more difficult tracks than simple ones. Pete – can’t remember people’s names for shit, the same goes for song names too. Karl – also plays with a couple of cover bands if they need a stand in. Adam - owns more shoes than all our partners put together”.

Urfe

And finally, Urfe.

Let’s start with some background. give us a potted history of the band: "Spring 2018: 2 detuned guitars met with slow thundering drum beats. life was finally breathed into a back catalogue of bedroom-riffs. put with a huge pair of lungs and a rumbling bass, and we were performing our first gig by that autumn. since then we’ve been hitting the Swansea music scene as hard as we can. "

Introduce us to the current line-up: "The massive pair of lungs at the front is Bekah. Al and Nik are on Guitar. Daf is the Drummer. and Ethan, who’s only just joined us is on the Bass."

How would you describe the band’s sound? "Big, heavy, dark. moody and riffy. And what about the main influences for the band? “…. loads. we all listen to a big variety of music. and we all have our preferences. and I think this comes through in the music. the main influences are black sabbath and their decedents; Kyuss, Electric Wizard, Acid King, Mastodon. but there’s all sorts in there; from thrash to soft jazz."

Lemmy once said “if we moved in next door your grass would die”. if you moved in next door, what would happen to my lawn? "Dunno ...maybe someone might try to smoke it …" 

What prompted you to apply for the M2TM competition? "We’re just starting out- having only played our first gig in November, so we’re trying to put ourselves around a bit. we’re looking forward to playing to a new crowd at a new venue …but the chance to play at bloodstock is awesome" 

What can we expect from you at fuel? "Big riffs. big vocals. there is a strong line-up this year and the competition will be fierce."

It’s great to have a healthy Welsh metal scene. playing this event always seems to raise the game. tell us a few highlights for the band since you started. "So far, we’ve been cutting our teeth on the Swansea scene. and it seems to be going well – people are remembering our name and we’re getting loads of requests to play. my personal highlight was that Al and Ethan met for the first time when Ethan played his first gig with us! seems to sum up how quick things are moving for us. have you been to Bloodstock before? if so, tell us some of your experiences; why is it such a great festival? “unfortunately, it’s not a festival any of us have had a chance to get to yet." 

And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. "Errrrrm…every one of us is at least one other band. in fact, I’ve lost count of how many bands Daf is in! we all love making music and bringing our songs on stage." 

So, this is Heat 1. Of course, getting to Fuel on 15th February to make your own mind up is what is most important. It’s going to be tough; let the battle commence.

A View From The Back Of The Room: Conjurer

Conjurer, They Live We Sleep, Black Pyre, Fuel Cardiff

So spending a Friday night in Cardiff's only rock bar watching a band who's star is on the rise with a couple of old friends is a pretty good way to start any weekend, especially after seeing a majestic gig from Behemoth earlier in the week.

This time though it was a much smaller affair the gig area of Fuel not even a quarter full for openers Black Pyre (6) who we have seen before as Paul called them nothing particularly special. I'd have to agree as this trio do fall a little flat even if they are a pastiche of the black metal genre. They certainly have their tongues firmly in their cheeks as the frontman talks the way he sings and they introduce most of their songs as about death. Not really fitting on this bill let's see if a third viewing will make things click.

Next up we're They Live, We Sleep (7) I'd seen this abrasive sludgey hardcore band at the Green Rooms in Treforest during Halloween, there they were playing to 12 people here most of the crowd arrived. For a support to this gig they were spot on nasty, modern metal influenced by the extreme side of things. Influences were literally worn on their denim cuts as the bass player sported a huge Converge patch the entire length of his back. With screams coming from the vocalist who once again was in the thick of the crowd, the band played heavily distorted, down tuned, ear piercing tunes to get the crowd amped.

Next then were headliners a band I'd seen in the same venue many moons ago at Red Sun Festival (2015 is so far away) in fact the band got to play twice due to another act not turning up. Since then though they have become one of the most vital, indescribable, uncategorizable bands on the UK music scene. It's not been slow and steady, the momentum has been growing and growing due to their intense live shows but it was their 2018 album Mire that firmly put them at the forefront of people's minds appearing on many Best Of 2018 lists (mine included).

This was their first UK headline tour and they were determined to make it count from the moment Conjurer (8) took to the stage they had the crowd eating g out of their hands, the set was comprised from songs off Mire as the impressive Choke and Hollow opened the evening with Brady Deeprose and Dan Nightingale sharing not only the guitar suites but the vocals two leading for another level of harsh vocal interplay as both have so much differentiation to their voices but gel so well together, the intricate guitar lines and punishing riffs are underpinned by grooves from Conor Marshall and in the engine room Jan Krause controls the flow and tempo from behind the kit. As business was starting to pick up (as Ol' JR used to say) a complete light and microphone failure hit the stage plunging it into darkness and leaving the band having to address the audience at normal volume. 

This vocal silence and lack of light went on for a while but as the instruments were still active we were treated to Blood And Thunder (Mastodon) a song which has been appearing in the set but this time sung entirely by the crowd, it was cut short to be followed by Toxicity (System Of A Down) and the Wallace And Gromit theme, after a pop the mics were back the lights weren't so like the dogged band they are the set continued albeit a little shorter due to the pause and in near darkness the only lights coming from the disco projectors which did make for a humorous sight. Powering through most of Mire this genre straddling band are definitely worthy of their hype, lets hope that on their rise to the top this show is remembered as one of those Spinal Tap moments that lives long into the band legend. I encourage you to see Conjurer as soon as possible as this is band who are leading the way for modern UK metal.

Just a massive shout out to Beers Over Tears for putting on this show in Fuel, it seemed to be pretty packed so congratulations for a great show.

A View From The Back Of The Room: Ecclesia Diabolica Evropa (Live Review By Paul H)

Ecclesia Diabolica Evropa Tour 2019, Motion, Bristol

At times during this show, and yes, I mean show, there were gasps from the assembled crowd at the intensity and passion which was being shown on the stage. Three bands that cover different genres of the more extreme end of the metal spectrum and a crowd baying for as much as the bands could throw at them meant that this was a stunning night in terms of value for money. Not so sure about some of the merchandise on the Behemoth stall though. Whilst it appears that £25 is the going rate for t-shirts, £40 for a long sleeve and £60 for a hoodie appeared a little costly.

Having seen Wolves In The Throne Room (8) last year at their headline gig in the Globe in Cardiff I knew that the Americans deliver an almost unworldly experience live. Their astonishing focus and intensity drove their 30 minute set is coupled with a ferocity rarely seen. With the stage shrouded in darkness and the incense burning, the Weaver brothers and their assembled cohort blasted through three tracks from Thrice Woven, all of which held the audience in their spell. Angrboda, The Old Ones Are With Us and Born From The Serpent’s Eye were all massive. The constant riffing and wall of sound along with brutal vocal growls captivated many who were witnessing the band for the first time. A huge opening act.

I’ve tried on many occasions to get into the Gothenburg melodic death metallers At The Gates (6). Their show at The Globe a few years ago was the best I’d seen them play, with the up close and personal in your face approach making it a really enjoyable gig. However, despite a few other shows since, nothing has come close and tonight despite the hardcore clearly lapping it up, the Swedes once again left me completely cold. A 12 song set which took in tracks from their last two albums and the seminal Slaughter Of The Soul dragged by, and whilst the band put all their effort in, with Tomas Lindberg prowling the stage like a hyperactive toddler on Smarties, their music really just doesn’t fire the spark in me. Interestingly, despite the critical acclaim for To Drink From The Night Itself, At The Gates chose more tracks from At War With Reality including a tasty Death and The Labyrinth. I can appreciate their place in extreme metal but the repetition of their song structure meant that attention had started to wander long before the end of their set.

The last time I saw Behemoth indoors was in December 2014 on The Satanist tour, a bill that also included Decapitated, Winterfylleth and Grand Magus. Two Bloodstock shows have confirmed the size of the Polish outfit in terms of status, and we know that they now bring the show. Tonight, Behemoth (9) were simply masterful. Bone crushingly heavy, there was little let up in pace throughout their set, which balanced tracks from their magnificent 2018 album I Loved You At Your Darkest, a couple from The Satanist and a welcome handful from Demigod, Evangelion and two from Satanica. A huge set and light show ensured that visually there was always something to watch, with Nergal, Orion and Seth performing multiple costume changes to enhance the atmosphere and support the dark themes. Orion in particular is captivating, the man mountain prowls his side of the stage with an air of complete malevolence. Seth maintained a lower profile, content to add to the carnage with his astonishing riffing whilst Inferno made the blistering drumming look so easy at the back.

Focus is however, always on Nergal at a Behemoth gig though, and the frontman’s energy, desire and sheer focus made it difficult not to constantly follow him across the stage. Urging, coercing and constantly encouraging the crowd without relying on any of the cliched style that so many metal bands resort to, Nergal commanded from the front, whilst the sheer brutality of the music ensured that the pit took care of itself. With five tracks from ILYAYD, there was a familiarity amongst the material that younger Behemoth fans must have enjoyed, whilst the older legions nodded wisely to the likes of Slaves Shall Serve, Lucifer and Ov Fire And The Void. A bludgeoning Blow Your Trumpets, Gabriel reminded us of how good The Satanist still is. Billowing dry ice, a cunningly placed backdrop with constantly changing imagery and lighting that added to the atmosphere combined with the bludgeoning music, this was a show that will live long in the memory. Behemoth are at the top of their game, masters of black metal and a force that we should all embrace.

A View From The Back Of The Room: Amorphis, Soilwork & Nailed To Obscurity (Live Review By Rich)

Amorphis, Soilwork & Nailed To Obscurity, Electric Ballroom, London

For some inexplicable reason when this tour was announced it managed to completely bypass me. Luckily for me when I did find out about it mere days before the show was to take place I realised I was off work and thanks to cheap Megabus tickets it would not cost me an absolute fortune to go to this gig. After an arduous five hour coach journey and navigating London Underground during the rush hour on a Monday I arrived at the Electric Ballroom in Camden with plenty of time to spare and managed to secure a good vantage point in front of the sound desk before the first band hit the stage.

Kicking the evening off in gloomy style were German melodic death doom band Nailed To Obscurity (8). I’ve been a fan of this band since hearing their King Delusion album a couple of years ago and this was my first time checking them out. They started the set with the title track off their latest album Black Frost which to be honest isn’t their best song and seemed a strange choice to start the set with. After this initial misstep things picked up dramatically with jaw dropping renditions of gloriously melancholic songs such as The Aberrant Host, Tears Of The Eyeless and Desolate Ruin. The band played fantastically with a huge all encompassing sound and frontman Raimund Enegga put in a passionate and fiery performance. For a band that plays such dark sorrowful music they are a bunch of cheery lads on stage. By the time they left the stage they had definitely won over the London crowd and made a big impression on me especially as they play a style of metal I absolutely adore. An absolutely brilliant start to the evening.

Thanks to ongoing visa issues the other support act for the tour Jinjer weren’t able to get into the UK to perform at this show so next up were the first of the nights two headliners and a band that I have been listening to for a great number of years - Swedish melodic death metallers Soilwork (8). The band have just released their 11th album Verkligheten so a good chunk of their set was taken with new material such as Arrival, Full Moon Shoals and Witan and is must be said these songs sounded absolutely fantastic live. The band were firing on all cylinders with bags of energy. Frontman Björn “Speed” Strid is a commanding presence on stage and whipped up the crowd into a frenzy. His vocals on the night were a mixed bag. His clean vocals were utterly fantastic and the best I’ve heard them but he struggled with the harsh vocals especially towards the end of the set. He said to the crowd that his voice was shot and that he was struggling but the audience were more than willing to assist screaming, shouting and singing along loudly to glorious melodeath anthems such as The Crestfallen, Nerve, Like The Average Stalker, As We Speak, The Ride Majestic and Stabbing The Drama. The sound was a bit muddy at points but it did not detract from a blinding set by the Swedish melodic death metal legends.

This show was a sell out event and so by the time Soilwork had finished the venue was very crammed and very warm. I retreated back a bit for a bit more space for the final band of the evening Finnish metal legends Amorphis (9). Amorphis dropped what was for me the best album of 2018 and so I was very pleased that a good portion of the set was dedicated to the new songs. The band kicked off with The Bee accompanied by a dazzling light show and a flawless performance. I had only ever seen Amorphis at festivals before and this was my first experience of a proper Amorphis show. It seriously did not disappoint. The sound was absolutely spot on with all instruments at a perfect level of clarity. Frontman Tomi Joutsen proved entirely why he is one of the best singers in metal with his ability to switch absolutely seamlessly between his guttural death metal growls to his glorious clean singing voice. His vocal control is just utterly amazing.

The rest of the band put in seamless performances and performed flawless versions of Sky Is Mine, Bad Blood, Wrong Direction, The Smoke, Silver Bride, Death Of A King, House Of Sleep and the classic Black Winter Day. My only minor criticism is that very little of their older material was played with the entire set apart from Black Winter Day coming from the Tomi fronted albums. The performances and entire show was just absolutely perfect and I can only complain about what wasn’t played as what was played was absolutely glorious and shows the strength of the material Amorphis is still putting out in the bands 29th year of existence.

A View From The Back Of The Room; Obscura, Fallujah, Allegaeon & First Fragment (Live Review By Paul H)

Obscura, Fallujah, Allegaeon And First Fragment, The Fleece, Bristol

With more strings than a harpist convention, a night of technical death metal was always going to provide entertainment through endurance. It’s a strange genre; technically untouchable but at times stunningly dull as noodle after noodle screams past, buried under deafening blast beats and six string bassists intent on playing as fast as possible. So, with a very respectable Monday night crowd still filing into the venue, it was time for openers First Fragment (5) whose lack of cohesion combined with a rather dull stage presence was a little underwhelming. Musically challenged by a mix that failed to allow the duel guitars to cut through the mud until close to the end, the band weren’t helped by frontman David Alexandra Brault Pilon whose death growls were as expected unintelligible but who failed to really engage apart from the odd fist in the air. The band, who hail from Quebec, struggled to gel and drummer Nicholas Wells at least earnt points for his mid blast beat wind milling. Overall a mediocre start but I’d like to hear these guys on record to see if the mix was their downfall on the night.

No such problems for US masters Allegaeon (8) who showed exactly how to play a 35-minute slot with a bone crushing set which didn’t stop for air from start to finish. Brandon Park thundered his way through a storming set, with guitars slicing through the mix with much greater clarity than earlier on the evening. If you want to see a frontman do it properly then look no further than Riley McShane whose front and centre approach grabbed your attention. Losing his specs halfway through the set allowed him to loosen the neck muscles whilst the flanking windmills of bassist Brandon Michael and guitarists Greg Burgess and Michael Stancel ensured activity all around the stage. Technically this is a band I’ve long appreciated, and they didn’t disappoint, with a new song sitting comfortably alongside older material. A band I would travel to see again.

A surreal experience throughout the evening as The Fleece appeared to be playing an indie playlist during the breaks, creating a bizarre backdrop as sound check riffage and pounding drums competed for the gentle melancholy and angst-ridden soundtrack.

I saw main support Fallujah (8) at BOA a couple of years ago and despite a stand in singer at the time they did alright with a gritty late morning opening slot. Aggressive and assured, new singer Antonio Palermo now firmly within the ranks, the San Francisco outfit exuded a quiet confidence which was totally on point as they delivered a set of devastating quality. Whilst there may not be as much enthusiasm as McShane showed during the previous set, this is a band who are very comfortable with what they do. New tracks included Sapphire which was for me the pick of the whole set. Captivating is probably the wrong word, but their crushing technicality spared little, the thundering heaviness underpinned by a melody that isn’t always present in this toughest of genres. Fallujah may not have chosen the best name as a band, but they are hell of a live outfit. Ferocity on ten legs. With new album Undying Light due out in March, this should be another good year for the band.

So, it was left for Germans Obscura (8) to demonstrate their top billing was warranted. With their 2018 release Divilium one of the most brilliant releases of last year, musically there was no challenge. Live, the band breathe technical excellence, and with 20 strings between the three guitarists there was an octopus like movement up and down the frets. Crystal clear sound allowed the intricate patterns and loops to air with ease. Vocalist and guitarist Steffen Kummerer growled through tracks from their last album, including a massive Divilium, and Akroasis, the title track from their 2016 release. Smiling and sincere in their joy at a decent turnout and a return to Bristol, the show was backed by an impressive light show which enhanced the complex songs. With several line up changes over the years only Kummerer remains from the 2002 line up but Rafael Trujillo is a stunning guitarist whilst bassist Linus Klausenitzer grappled manfully with his six-string machine. Having lasted most of the set, including a numbingly dull bass solo, my post viral fatigue started to kick in, I left the Fleece with Obscura heading towards a magnificent conclusion to a solid night of extreme metal. Technically magnificent, this was a fabulous value for money bill and well worth the Monday night effort.

Reviews: Bring Me The Horizon, Cosmic Rain, Haunt, Sister Rose (Alex & Matt)

Bring Me The Horizon: Amo (RCA Records)

Translated from its original Portuguese, Amo means either love or master. An intriguing dichotomy which lends itself acutely to the darkness and at the heart of Bring Me The Horizon’s sixth studio outing. Frontman, Olli Sykes has lately recovered from addictions, dealt with the death of a friend, divorced and remarried. Meanwhile, he has confessed his discomfort at being plagued with the ‘metal’ label, expressing an urge to experiment, subverting any and all expectations. Who could blame him? To trot out a cliché, his band has repeatedly improved by ‘selling out’. First came Sempiternal when they turned from a largely awful deathcore band into an ambitious alt-metal act. Later, we heard them incorporating synths into their sound, with That’s The Spirit. Naturally, it serves as a logical progression to hear them venture in a direction which, to quote a chiefly sarcastic lyric, ‘’ain't heavy metal’’. The resulting disc – and here comes a polarizing statement – is BMTH’s most mature and effective work to date.

Beginning on a contentious note, while the pop tracks reflect mainstream habits, they still bear plenty of identity and charm. Medicine swells and blossoms into an infectious pop anthem, with ironically pessimistic wordplay: ‘some people are a lot like clouds you know, cause life’s so much brighter when they go’. Mother Tongue bears a huge chorus as well as heartfelt lyricism and rich piano touches. Why You Got To Kick Me When I’m Down is an incredibly emotive and shiver-inducing listen. Furthermore, In The Dark has a decent amount of strut and attitude. Even the glaring, EDM-esque moment featuring Grimes, Nihilist Blues, feels delightfully dark and disquieting, placed within the setting of Amo as an experience. To best stress my point though, look to the epic I Don’t Know What To Say, where the scatterings of strings and acoustics laced throughout are brought to the forefront in a glorious display of passion and emotion.

Of course, there are plenty of guitar-led tracks, lending ferocious bite. Mantra displays a massive lead riff and an equally towering chorus in which Sykes condemns slavish devotion to ideologies ‘Before the truth will set you free it will piss you off/Cause all you ever do is chant the same old mantra’. Wonderful Life brings a traditional rock n roll swagger, accompanied by tongue in cheek mocking of the celebrity lifestyle. Even Sugar, Honey, Ice, And Tea has a deluge of grit and rawness (Side note: It took me an embarrassingly long time to notice the acronym in the title and chorus). Nothing can beat the throttling heavy metal though, where Olli takes a joyfully sneering approach to elitist metalhead fans; ‘Some kid on the ground said he used to be a fan but this shit ain't heavy metal’ while admitting his own vulnerabilities ‘I keep picking petals, I'm afraid you don't love me anymore’. In this contradiction, is the core of Amo: a black, powerful and sometimes uncomfortable record about accepting the inevitability of change.

While I do not deny that Amo is a risky, and often quite scattered album in terms of deciding a direction for itself, it is also strikingly brave, and an important step in Bring Me the Horizons growth as musicians. Not only is this their best album, but it may also be their most ambitious. 8/10

 
Cosmic Rain: Seekers (Self Released)

"Cuckoo clocks and fucking Toblerones!" Billy Connolly explaining Switzerland many moons ago, but of course there is so much more to the country than that, musically they are as diverse as any of the countries that surround them which is pretty good considering their population is only around 8 million people. Cosmic Rain are a Swiss prog band who by their own admission are influenced by King Crimson, Opeth, Yes, Gentle Giant and Dream Theater, but this Geneva based four piece are trying to reinvent progressive rock for 2019 building on the 70's blueprint for their own interpretation. Cadiz Ouverture swells into Sils-Maria which has a biting riff, some Middle Eastern keyboards, laid back vocals a moving into a planative piano piece and a swirling guitar solo.

Sils-Maria is a direct opening for the album the band at their most rock, a stark contrast to Dimensional Gates which has odd time signatures, jazz moments and layered acoustics. Brilliantly played by the band they are all clearly gifted musicians, Cosmic Rain is Laurent Nigg (vocals/guitar), Arnaud Bosch (keyboards), Willem Jochems (drums) and Marc Joray (bass) and their songwriting sounds like The Tea Party which means they will get a lot of love from me with The Powers That Me sounding the most like their Canadian compatriots with the use of Middle Eastern influences and Nigg's deep resonant vocals that pitch them like prog rock but with grunge overtones.

The songs on Seekers are contrite but musically dextrous only The Journey And Its Tones clocks in at over 10 minutes and is the heaviest and powerful song on the record adding metal riffs and growls to their repertoire all while a dulcet piano beats in the background, at time it's Opeth in its scope, with blast beats rounding out the song. After a few listens to this record I'm really struck by it, having never heard Cosmic Rain before this album has won me over totally. It's exhilarating progressive rock without a cuckoo clock in sight! 9/10

Haunt: Mosaic Vision (Self Released)

Beastmaker frontman Trevor William Church has another band, Haunt is that other band and while his 'dayjob' sees him playing Sabbath riffs about horror topics Haunt is a much more pacey project sat firmly in the grip of the NWOBHM when Tokyo Blade, Angel Witch and Tygers Of Pan Tang put on their high tops, spray on jeans and spiky guitars to play galloping numbers. Haunt do the same, having already released an EP and full length (and another on the way) so this EP is another chance for them to explore dual guitar harmonies, a taster of what's to come Haunt are proof that Church is more than a one trick pony. Get your ears around Mosaic Vision for some classic metal thump. 7/10

Sister Rose: No Cause For Distraction (Self Release)

Proudly championing their mission to bring ‘80s rock to today's music’, Sister Rose exudes a typically classic rock flair. Driven by crunchy riffs, strong choruses and wailing lead breaks, anyone who still finds solace in the recklessness or dynamism of glam metal or classic hard rock will love No Cause For Distraction. Make no mistake, this project has the admirable aim of dishing out a fun time, both for the musicians involved and their fans.

Bullet begins the album with a driving guitar riff, courtesy of Alex Fearnly, while Chris Berry’s lead vocals give out a rough feel, and Craig Fernley performs some euphoric guitar solos. While I can't help wishing that the opener would provide a little more melodic bombast, it certainly sets out these musicians mission statement: ‘we are taking you on a retro journey of loud music, unashamed indulgence, and brash overconfidence’. We get more songs laced through which flaunt their classic rock influence with pride, High Expectations and No Cause For Distraction to name a few, and - as you may expect - they are inspired anthems to get your head shaking, at the very least.

Like any hard rock record worth the title, however, comes a decent amount load of bite. Worlds Stop Turning and Long Dark Days are brought to life at the command of mechanically stomping instrumentation and sardonically snarled lyricism. Long Dark Days and Seven bear a similar tone, except rather than being grinding marchers, are stampeding and forceful in their conviction. Even the more grunge metal inspired moments, like the clomping Smoke And Mirrors or the elusively dark Lost My Soul, have a lot of charm and finesse to them – staying true to the straightforward rock n roll aesthetic.

Overall, in the pantheon of bands attempting to emulate that traditional rock n roll swagger, Sister Rose isn't necessarily doing anything new or cutting edge, except for possibly bringing in some metal or grunge stylings here and there. Yet what they are doing is taking an old idea, and performing it well. All this contributes to an experience which the classic rock lover in us - and let's face it, we've all got that part of us – will be happy to indulge in, at least at the moment it is being played out. 6/10