Review: Belzebubs, Texas Hippie Coalition, Shrapnel, Smoulder (Paul H & Matt)

Belzebubs: Pantheon Of The Nightside Gods (Century Media) [Paul H]

So, this was an interesting one to consider. Being an old fart and completely out of touch with the younglings in the world, I had to do quite a bit of research to bring myself up to speed about Belzebubs. A trve kvlt documentary in comic form, originating from a Finnish web comic produced by JP Ahonen and updated every Friday, Belzebubs has been doing the rounds for some time and secured a cvlt following. With the rather mysterious background, the long-expected debut release Pantheon Of The Nightside Gods arrived in the box and it was time to find out what all the fuss is about.

The band comprises Hubbath on bass and vocals, Obesyx on lead guitars, Sløth on guitar and backing vocals and newly joined drummer Samael. Journey into the Pantheon Of The Nightside Gods and what you will discover is 53 minutes of perfectly crafted black metal, similar in style to the likes of Immortal and Dimmu Borgir. Now, I have no knowledge of the musicians behind this project, but this was a very entertaining and enjoyable album which I would recommend for a listen. From the opening Cathedral Of Mourning through to the title track which closes this release, everything is present. Serious amounts of blastbeats, slicing guitar work and guttural rasping vocals combine with symphonic elements and haunting piano. Soaring crescendos, stunning arpeggios and tremolo riffing, and an overall piece of work which excites. Cartoon characters they may be, but Pantheons Of The Nightside Gods works fantastically. 8/10

Texas Hippie Coalition: High In The Saddle (eOne) [Paul H]

Yeehaawww! The thunderous dirty heavy metal of Texas Hippie Coalition is back, with their sixth studio album, High In The Saddle. Since 2016’s Dark Side Of The Black there have been a number of line-up changes in the band, with only vocalist ‘Big Dad’ Ritch remaining from the line-up that formed THC a decade or so ago. With Larado Romo (bass) joining his brother Nevada (guitar) alongside new drummer Devon Carothers and Cord Pool on guitar, it’s pleasing to report that the band’s massive ballsy sound remains as potent as on previous works. It was this sound, combined with the huge vocal of Ritch that had me hooked from early on and there is no change in the grove infested songs that piledrive the listener. Opening track Moonshine and the drinking song Dirty Finger set the scene, crunching riffs and a devil may care attitude which blow those speaker stacks from the opening chords.

Sometimes complexity is a guest I don’t want at the dinner table, preferring the meaty if unsophisticated approach of THC and the like. Bring It Baby is massive, rumbling bass, soaring guitar work and a catchy hook on the chorus all combine to get the head banging with gusto. Ride Or Die slows the pace, an emotional song recounting those who have passed to the other side, Ritch giving a storming vocal performance on a power ballad that knits the album together. Stevie Nicks refers to the Fleetwood Mac singer and connections with witchcraft (ironic given Nicks is an ordained minister) but it’s a corking track, whilst album closer Blue Lights On opens with wailing sirens and an addictive chug as the track pumps along. THC do what they do damn well, and sometimes simplistic balls-out hard rock and metal is what you need. Play it loud. 7/10

Shrapnel: Decade Of Decimation (Candlelight) [Paul H]

A sharp, in your face four track EP from the UK thrashers who have re-recorded three tracks from their debut EP alongside new track Live Vindictive to celebrate their 10th anniversary. One of the most consistent and hard-working bands in the UK, their powerful, ferocious thrash metal has long been a favourite and this EP captures not only the raw power of the early days with Warhead, Rider Of Black and No Saviours, but also the essence of UK thrash metal. Sure, the US influences of Testament and a million others are there but this has a traditionally UK style which works so well. Live Vindictive is faster than anything else on the EP, oozes quality and shades of Slayer and Exodus whilst the twin guitar work is as fierce as ever. With album number three on the way shortly, Shrapnel remain one of the most important UK metal bands. 7/10

Smoulder: Times Of Obscene Evil & Wild Daring (Cruz Del Sur) [Matt]

One member of Smoulder, specifically the one that writes the lyrics, which I assume is frontwoman Sarah Ann is obsessed with swords, so much that this entire album including the artwork mentions a sword or blade at some point. I'm not saying this a criticism mind you I do love a good fantasy lyric and these Canadian epic doomsters have shed loads of them, the superbly titled Times Of Obscene Evil & Wild Daring is a Frank Frazetta painting come to life set to the musical background of classic epic doom metal acts such as Solstice, it's got all the hallmarks, riffs that move from lumbering monstrous crashes through a city (Black Gods Kiss), to some fist pumping traditional metal (Sword Woman) with a palm load of atmospherics to truly immerse you in the fantasy narrative. 

The band are Adam (bass) and Kevin (drums) who give this album it's punchy rhythm section, Colin and Vincent are the guitar slingers while Sarah Ann's vocals are brilliantly evocative for all the might and magic that this album conjures. Times Of Obscene Evil & Wild Daring is the sort of album Grand Magus would write after a 14 hour D&D session but for the massive nerd in me this actually sounds like a bloody good idea. Unfortunately for the Swedish band, these Canadians have got in there first with this fine slab of epic doom metal, 6 tracks of massive riffs, swords, sorcery and some cinematic scoring as well. No Smouldering here this record is on fire! 8/10 

A View From The Back Of The Room: Replacement Weekender

Replacement Weekender, Moon & Fuel Rock Club, Womanby Street, Cardiff

This was supposed to be a different festival, it was announced last year but only a few weeks later the organisers pulled out leaving fans and bands stumped. Thankfully the folks at The Moon managed to schedule this replacement using many of the bands that were already confirmed for the previous incarnation. The catchily named Replacement Weekender took place across two nights on Cardiff's alternative hub Womanby street, on the Friday just in The Moon club, but the Saturday not only featured more bands but the acts were split between The Moon and Fuel Rock Club. Unfortunately other business meant I couldn't attend the Friday but I was there bright and early for Saturday's shenanigans.

Normally arriving at Fuel Rock Club at 4pm is invariably a precursor for Eradication Booking Agency's extreme metal fests, however there was a totally different vibe for this Saturdays, as Greebos, stoners, hippies and beardos all made their way to Cardiff's only rock club for the first band of the day. Positive Reaction (6) had the mammoth task of opening the festival what better music for 5pm on a Saturday than some hardcore influenced punk rock which mixed grooves and rapid fire vocals, if there were any DRI fans in the audience then they would have been stomping merrily however there weren't too many in the room (through no fault of the band) but Positive Reaction elicited just that, hardcore isn't my thing but on stage they really show what they are worth as their set flew by.

Next it was over to The Moon for Newport post-metal doomsters Kong Lives (8), a band that were a bit more my taste, having seen them before I knew what I was in for but they thoroughly blew me away in the intimate surroundings of The Moon, their mostly instrumental sound, brought huge monolithic riffs and lots of feedback, when the mics were used the three string playing members all untied in screams and growls using their vocals as another instrument. It was atmospheric and ethereal and also bowl movingly heavy gaining a pretty big audience, the heads banged in unison but slowly as the band played their elongated arrangements. It was going to be a very long day if all the sets were going to be as good as this! Back over to Fuel and something a little faster in the shape of Throwing Knives (7) not long removed from their M2TM appearance, the punk rock band got the still dazed denizens moving with their bodies to their sprightly punk-filled rock music that reminded me a lot of Rise Against and Rage Against Machine, the latter because of the almost rap-like vocal styling of Brett Davies, a speedy show that got the crowd in Fuel shouting at the top of their lungs so much so that after their final song the band were coerced into playing one more by the crowd, maybe it's all about timing but it seems here Throwing Knives were on point.

Back over to The Moon for the first of two brain melting sets, on the cramped The Moon stage Sheffield progressive sludge metal crew Kurokuma (8), crouched over their pedalboards and began to make some unholy sounds using just guitar, bass, drums and as many effects as possible, reverb, modulation, distortion and more, selecting tracks from their back catalog, not many mind you as they do know how to write an epic. Once again it was mostly instrumental, with the vocals dropped in occasionally, but when they can create cascading compositions that hook you in without any vocals at all, you do think that they may be surplus to requirements, their set flew by in a wave of noise and distortion with a few false finishes meaning many didn't quite know where to applaud, which did cause a few smirks to be honest.

Once it was over though a mighty cheer went up with many stopping to chat to the band before funneling out over to Fuel for the nastiest band of the day, Cardiff blackened sludgers Tides Of Sulfur (8), who hadn't played a home town show for a long while but as the initial chords kicked in I once again felt the familiar ringing in my ear that this band always brought, playing some older stuff and new stuff of their recent EP Paralysis Of Reason, most importantly they played Humourless Cunt which wins the award for most offensive song title of the day, I'm always amazed of just how crushing this band are Anthony peeling of riffs as Tom Lee (who was pulling double duty) battered his kit into dust at the back. On the other side of the stage Chris has the filthy low end, screams and lots of gurning together they scared any of the 'normals' that were out for a day of drinking (there were a few). It was excellent to see them again on home turf next time I won't leave it as long.

Back over to The Moon for the more traditional punk fayre of Not Since The Accident (7) who also featured someone on double duty guitarist Steve also plays bass in Throwing Knives, having not long seen them I knew what to expect and they delivered again with a fun filled set of Bad Religion-like snot nosed punk, which got The Moon bouncing, they served as delightful break in proceedings buoying the crowd up ready for the first return of the day. It was a big one as the on-again-off-again legends of the South Wales stoner scene Thorun (8) returned to the stage after a lengthy hiatus, they haven't missed a beat bringing their patented brand of thundering instrumental stoner metal to Fuel, this was the second largest crowd of the day (as you'd kind of expect) with many wearing their probably now vintage Thorun t-shirts, a more melodic offering than the other mostly instrumental bands playing the festival Thorun managed to recapture the magic of years ago with fluid melodic guitars over swaggering stoner riffs. Exiting to a thunderous ovation, we can only hope that this is start of a 'proper' return from Thorun.

With joy at it's fullest it was time for another reunion of sorts as Newport-ish stoner doom band Haast's Eagled (7) maintained the evenings returns from the grave, unlike the previous band this one featured a lot of vocals that had a massive range though to my ears, sometimes dropped out of tune, but musically it much more psychedelic, still heavy as safe full of ball bearings but with a flowing melody that made them the most like a traditional prog band on the bill, to enforce this they played their own interpretation of Us And Them from Pink Floyd's seminal Dark Side And The Moon. A great set from another reinvigorated band who I hope will also be around for a while to come, welcome back Haast's Eagled it's been a while. Over to Fuel for their 'headliner', it was a riotous affair as hardcore/thrash punk band Grand Collapse (7) managed to destroy Fuel as the masses started to filter in for the last two bands of the day, there was absolute anarchy in Fuel with some craziness from the crowd as this Cardiff band brought the maelstrom thrash riffs in the style of Hatebreed, Suicidal Tendencies and Biohazard with some chunky breakdowns as well, a pretty good way for Fuel to sign off for the evening.

Then it was over to The Moon for the the last band of the entire day and what better way to finish this stoner/psych/doom/noise menagerie than with Cardiff's premier purveyors of driving psych stoner rockers Lacetillia (9) who once again climbed onto The Moon's stage, both Michael and Lukas' faces obscured by amps (a godsend some may say, just joking chaps) it was vocalist Fry and bassist Ed upfront and center with Tom Lee once more installed behind the kit, unlike their previous show at The Moon, this one featured much more of the as yet unreleased material but it all sounds brilliant already, after these gigs they'll be perfectly honed for their second record (coming this year). This set had a bittersweet nature to it as Fry dedicated to the band's friend Adam who died recently (please go here https://bit.ly/2XhNK00 to help his family repatriate his body), on stage it drove the band to play an incendiary show which got rowdier as the great unwashed started to pile in to The Moon, both Fry and Ed were animated up front and the band were tight as hell cranking out riff after riff. Lacertilia always give a brilliant show and this capped off was quite a remarkable D.I.Y festival born out of disappointment but one that was a real triumph. 

Reviews: Rage Of Light, Joe Stump, Erja Lyytinen, Magic Circle (Manus)

Rage Of Light: Imploder (Napalm Records)

It’s a bit of a surprise when the clean, operatic vocals kick in after a heavy intro that sounds like it’ll give way to straight growling in this album’s first song, Enraged. Now, the growls do come in before too long, creating some striking harmonies and flawless contrast with the cleans. The rest of the albums juggles and blends the two vocal styles, and those alone would be enough to pay attention to. But as awesome as they are, it’d be a shame to hear this record just for the vocals. There’s some incredible guitar and drum work building the songs, and even some electronic elements that don’t distract, but also add to the busy songs. Rage Of Light do a fine job blending heavy with melodic, yielding impressive results in this record. 8/10

Joe Stump: Symphonic Onslaught (Lion Music)

Let’s just start by saying this album has an appropriate title. It lives up to its namesake. Yep, Joe Stump’s Symphonic Onslaught is, well… a symphonic onslaught. Centred around neoclassical noodling, these tunes let the guitar stand front and centre, but aren’t basic enough to just be vehicles for the shredding. Speaking of the shredding, the shredding is killer. It’s killer on every track, but that’s kind of because it’s almost the same on every track. There’s nothing wrong with Stump’s formula here, except a bit of overuse. It starts to sound like one long song at some point in the record, and 11 songs is a lot when they’re all so similar. Breaking it up with a few different playing styles here and there would do the record justice, and be a better way to show off Stump’s chops. Nobody wants to be a one-trick pony. 7/10

Erja Lyytinen: Another World (Bluesland/Tuohi Records)

There’s a lot of highs and lows on Finnish singer Erja Lyytinen’s new record. Not in terms of quality, just in terms of emotionality. It’s a great record for what it is. It’s blues rock, but there are places where it goes in some surprisingly modern directions as well. There are a couple musical guests featured on some of the tracks, but it’s not like those are the only ones worth a listen—or even the best ones. If there’s a true standout track on this record, the pleasant Another World would take that title. All in all, the record is enjoyable. It should be a fan-pleaser, and maybe be enough to recruit a few new fans too, if there are any blues-rockers who are unfamiliar with Lyytinen. 7/10

Magic Circle: Departed Souls (20 Buck Spin)

Straight out of the 70s is this stoner-doom demonstration record, complete with warm tubey guitar sounds and Sabbath-meets-prog vocals. At the forefront of every song is the riffs that drive the tunes. There’s hardly a forgettable riff on the record, which is nice and refreshing to hear, as good riffs are a big part of what separates good doom from lame doom.  Of course, the songs are all long too, with the exception of one short interlude. A couple pass the seven-minute mark, managing to do so without sounding like they’re just dragging on forever. It’s easy to get lost in the riffs on tunes like I’ve Found My Way To Die and Nightland. It’s hard to imagine any stoner metal or doom fans having complaints about this one. 7/10

Reviews: Ron Keel Band, Pokerface, Don Felder, Mechanical God Creation (Rich, Pascal, Paul H, Liam)

Ron Keel Band: Fight Like A Band (EMP Label Group) [Rich]

Ron Keel is a prolific singer and guitarist with stints in many bands and projects from the 1980’s to present day.  The self styled ‘metal cowboy’ has been in Steeler, Keel and Ironhorse as well as many others but Fight Like A Band is the debut album under the moniker Ron Keel Band. The music on Fight Like A Band is far more in a hard rock than a heavy metal vein but displays various styles that fall under the hard rock banner and showcases the versatility of Ron and his band from anthemic rockers such as the title track, 80’s inspired arena rock such as Hearts Gone Wild, fun bluesy rockers such as Girls Like Me and the country leaning Just A Cowboy. There’s a bit of something for everyone here. Fight Like A Band is a nicely paced and varied album whilst not groundbreaking is a fun but unessential piece of American hard rock. 7/10

Pokerface: The Greatest Storm (Self Released) [Pascal]

I suppose I am not very ‘’au fait’’ but had not heard of Pokerface until today. Maybe they are unknown to me but after three recording efforts behind them including Game On a full length from 2017. A Russian trash metal band from Moscow its a female fronted led outfit. They have just released a four track EP called The Greatest Storm. I am going to pass on making comments on the clothing attire and theatrical nicknames such as Lady Owl for the vocals or Doctor (drums) or the more adventurous Ded Moroz to focus on the music itself. The opening track The Greatest Storm with its bass line intro got my attention almost immediately and I was positively shocked to hear clean vocals and all for the better I must say as it does suit this power metal influenced track very well.

Eternal Reflection has a more trashy sound and a more traditional structure and interestingly the vocals support the latter efficiently even though the choruses are a bit predictable. I must say though that the sharp guitaring and staccato rhythm make it an interesting tune. I am not sure what The Song Of My Revenge is doing on this EP, it falls into all the clichés of Eastern European metal and I am afraid and it's no addition of growling that will change my mind. Pain Overdose the last track is actually the strongest one with a blend of melodic hardcore and metal I would have loved if they had pushed the bass line further and made the track a killer tune but they played it safe and that’s disappointing. Overall its a bit disjoint style wise and difficult to think anything else that its still work in progress for Pokerface. Decent from an intent perspective. 5/10

Don Felder: American Rock n’ Roll (BMG Rights Management (US) LLC) [Paul H]

To the uninitiated, Don Felder, still rocking at the age of 71, was guitarist with the Eagles between 1974 – 2001. One of the most brilliant bands to grace the planet, the Eagles were just astonishing and having seen them live a few years ago, I would rank that gig in my top five of all time. Don Felder is a legend. Why? Because he co-wrote Hotel California and it is him duelling with Joe Walsh on one of rock music’s all-time fantastic guitar solos. So, listening to his third solo album, and his first since 2012’s Road To Forever, it feels a shame to write a negative review. Guitar work is as comfortably easy as always, Felder’s fretwork is composed, collected and still red hot. But the songs themselves are as limp as a bag of air freighted lettuce. Tracks such as Falling In Love, Hearts On Fire with its funky groove and horrific opening line “she’s a dirty girl, but she looks so fine”, and She Doesn’t Get It belongs on Felder’s first solo album that came out in 1983. It’s so dated. Time has moved on. Felder’s song writing hasn’t. And that’s all I’m going to say. 5/10

Mechanical God Creation: The New Chapter (The Goatmancer Records) [Liam]

Some beautiful technical death metal from Italy, who could easily be the spiritual successor to Arch Enemy. On their third full-length album so far it’s obvious the band hasn’t slowed down in any way, shape or form as they just assault your eardrums with their reckless intent to destroy. There are a lot of riffs on this record and I could hear an influence of Cannibal Corpse in the guitar work here and there. I can’t really spot a stand out song on the record because it all goes together so flawlessly from the drum work of Carlo Molinara to the vile vocals of Luciana Catananti. This is one of the best tech/death albums released so far this year and if you can find a better one, change my mind. 8/10

Reviews: Polar, Pioneers, Ketos, Tuning (Polly)

Polar: Nova (Arising Empires)

Metalcore is essentially the Kardashians of the Metal sub-genre, a few have successes from following the style of the founders and then so many try to be exactly like that and fail, it’s a lovely surprise when you come across a band that have the fundamentals of the sub-genre but put their own spin on it, this is the case with Polar. The track Devil has some of the beefiest grooves I have heard, the idea of the vocals with backing of the band as a group works well with the melodies, this also works well with Cradle. There are some posthardcore essences to the album with Adore and they do remind me of Northlane in a few areas but still have a unique spin to them but I get an impression that they are being cautious on the album and could the push the boundaries more with their song writing, if they do this correctly they could go far. Prey is one of my favourites on the album with the team effort of vocals in the beginning that sucked me straight in, the speed of the track incorporated with the grooves and the frantic backing guitar riff as a layer to the track works well. Overall I enjoyed this album and would spend my own time to listen to this again, it’s one for my permanent album collection. 8/10

Pioneers: Insecurities (Self Released)

The album opens with a faint guitar building up to an overall generic guitar riff, I wouldn’t say that it is terrible but it has definitely been done before, the album then flows effectively into Checkpoint which is an improvement to the basic intro of the album, particularly the song structure. The groove throughout the track is ruthless, the clean vocals do need some work, they aren’t powerful enough to compete with the bass, guitars and drum beats which if you are vocalist in a metalcore band you do need to have a voice that has enough power to not be drown out by your other band members. I enjoyed the track, especially the unclean vocals incorporated with the breakdowns and bridges.

False Colours has more of a posthardcore vibe to it which suits the vocal style more, this track blends the metalcore grinds & chugs well with the fast paced riffs of the posthardcore passage. It’s a unique contribution to both genres, to me this is a step in the right direction to how can evolve. Speaking of evolving, I liked the electronic parts and beat in Grounded it isn’t a full song more of an interval, it’s an effective method to separate the album before heading into the intense drums and build-up of Ideals, I do think clean vocals would work better on the majority of this track with just unclean vocals on the back up. Overall I liked the album but there is room for improvement in respect of vocal placement. 7/10

Ketos: First Strike (Hostile Media)

As soon as this album started playing the instrumental side of this band made me immediately think of Children of Bodom but with their own twist on the vocals. When listening to the album I got the impression that the lyrics throughout are deeply personal and areas that the band feel strongly about... What a better way to express this than with thrashy riffs. Escape the Chains has a juicy riff through it that brings me back to when I first started listening to metal. The rough around the edges vocals have the right presence to the album. The album then leads onto Into The Maelstrom. 

The bridge leading into the chorus works so well before going back into the debauched thrashy riffs. Harmacist is a track on the album that led me to the conclusion that the band have strong views that they bleed through their music, I can just picture the pits that would be shepherded by the band from this track. I like the dark lyrics that imply a Marxist view that it is the bands frustration towards discrimination of lower social classes and that you are only valued if you have money. To me it shows the bands softer side with their emotions that is expressed in an aggressive manner to show their passion to their music, it’s almost a paradox that lyrics. 7/10

Tuning: Hanging Thread (Swell Creek Records)

The LP begins with Kara Thrace it's the first song that get a feel about what Turning have to offer. The instrumental side of the LP are spot on, the hardcore punk vibe is evident with strong influences seeping through to early Mindless Self Indulgence, the only flaw I find on the album is the vocals, I get that it’s the punk vibe of pouring all of your rage into what you produce, but is there really need to sound like the angry drunk guy in the pub that makes no sense? It let down the record so much. I love the fast paced guitars that do give a burst of energy to the listener. Hanging Thread is one of the tracks that I enjoyed more than the rest however the vocals are quite frankly annoying. I can see references to late 80’s and early 90’s punk but as punk music evolves maybe this style of writing needs to stay in the late 80’s early 90’s. 5/10

Reviews: Constantine, Chris Rolling Band, Hey Satan, Death Tribe (Matt & Sean)

Constantine: Aftermath (Rockshots Records) [Matt]

Having always been somewhat of a prodigy, Athens born Constantine is flashy guitar for hire who has played with bands such as Nightrage (2007), Descending (2008-2012), Mystic Prophecy (2008-2012), Nightfall (2010-2013) and Primal Fear (2012) and now after a 7 year absence he is back with his second solo record, after Shredcore in 2010, that draws from the various styles of music he has been a part of during his career, but sticks with a modern metal style. To make sure these tracks stand up on their own he has a number of guest vocalists on the record they are: Ralf Scheepers (Primal Fear), Bjorn ''Speed'' Strid (Soilwork), Schmier (Destruction), Apollo Papathanasio (Spiritual Beggars, ex-Firewind) & Chris Clancy (Wearing Scars) so a pretty strong selection of singer's that allow Constantine to explore numerous styles that fit each singer.

The record starts with the sword wielding Bushido an instrumental that displays Constantine's obvious guitar prowess, the chunky riffs kick in for Hellfire Club which has double kick drums and Bjorn "Speed" Strid so there is an obvious Scar Symmetry sound to it, it's more of anthemic number for Press On Regardless with Ralf Scheepers. Apollo Papathanasio gives his soulful vocals to the fist pumping to Another Day and reappears on the galloping Deliver Us, Holding On 'til The End has Chris Clancy's emotive vocal range all over it and is actually one of the best songs on the record. As I've said there's a lot different styles on this record but most of it can be considered to be heavy metal but it means that there is a little of everything here, even thrash, on War On Pain featuring Schmier, Constantine is an immensely talented guitarist and this album is a real testament to his talent aided  by a list of top names. Aftermath is proper guitar driven metal, crank it up. 7/10

The Chris Rolling Squad: Spitfire (Wormholedeath) [Matt]

Well Lemmy be praised! The Chris Rolling Squad play rock n roll, I mean rock n roll the old way that the likes if Chuck Berry and Bo Diddley made famous, albeit infused with a punk edge and even some rockabilly on Go Fuck Yourself. Back On The Horse Again opens the record with incendiary riffs peeling from Rolling's fretboard while Brice Duval (bass) and Thib Adlersend (drums) hammer down like a blitzkrieg, it's all very Motorhead who had a similar style of punk edged rock n roll as the 10 tracks whizz by switching between the spirit of Lemmy (The World Is Going Down) and the rockabilly sound of Volbeat especially on Tremors. It seems a lot more authentic than say Chrome Division with there being a distinct "been there, done that" attitude from Rolling who's vocals are as whiskey-soaked as you want. If the band are this frantic on record I can only imagine how they are live but from the album cover it looks like a total riot. Spitfire would be the soundtrack to your next wild night out, something that you wouldn't have thought would come from a band from France. 7/10 

Hey Satan: Orange Moon (Cold Smoke Records) [Matt]

Characterised as two guitars and a drum kit Swiss stoner trio Hey Satan have got the fuzzy, vibes of Southern California desert rockers such as Fu Manchu and QOTSA, but the alternative garage edge of The Royal Blood (Prayers Are For Cowards). There's not a clean guitar sound to be heard on this second album as even on songs like the bluesy Pline L'ancien, We Salute You the fuzz is ramped up to the highest levels so every song bristles leaving it's mark on your speakers, but it's nothing really that different from their American influences. It's music perfect for the live stage, you can just picture this three piece setting it alight with some earthy grooves and psych-influenced numbers such as Heavy Like A Rose, however what makes them stand out a little from a number of their peers are the smooth vocals. Orange Moon is a record that takes those Southern Cali sounds and filters them through some Swiss professionalism for stoner rock album. 6/10

Death Tribe: Beyond Pain And Pleasure - A Desert Experience (Self Released) [Sean]

You know, I love a bit of death metal. Looking back over my previous entries, it wouldn’t take long to ascertain my appreciation for all things riffy and rotten. As does Anthony Kaoton, Lebanese born mastermind behind Netherlands based project, Death Tribe. Far from being some basement dwelling one man operation, Anthony has assembled an impressive array of collaborators ranging from Obscure to Dark Fortress. That’s certainly beyond the realms of a mere bedroom musician, ain’t it? With Mr. Kaoton being the sole songwriter of this impressive line-up, one would assume that we’re about to be treated to a tour de force, if the talent was anything to go by! As the man himself would put it, “Death Tribe is a celebration of death” and  “an experience that you should not miss”. SO, with all the subtly of a coked up 80’s wrestler, does debut album Beyond Pain And Pleasure: A Desert Experience make good on it’s claims? Or is just all a bunch of hot air? There’s only one way to fine out, sucka! Opener, Hollow, isn’t the most convincing of starts. Generic groove laden riffs sail on by in workmanlike fashion, undertones of thrash here and there but overall, completely forgettable. Sure it’s loud and there’s a few blast beats here and there but this isn’t what anyone would dub as an “experience”. Round 1? Meh.

Beyond Pain And Pleasure pick things up a wee bit, traces of black metal icing well with the traditional DM riffing. Implode Explode improves things once again, presenting an aural image of Death trading blows with Gojira. Neurotic Breakdown is another solid number as is Psychopathetic, though nothing that will truly land an impactful blow. Sure, there’s a lot of shouting and the promise of violence but it never fully materialises. Shame, as the songs are built on a fairly sound structure but are just so……austere, plain even. Death Blues provides a reprieve from the beige blasting, opting to go full speed/power metal. An amusing sideshow, though it’s done with an amiable conviction that I can’t help but admire. It’s the most convincing Death Tribe has sounded thus far, even it is just aping Riot. I’d even go as far as to state that Kaoton choose the wrong sub-genre to worship, coz that was pretty fun! Narcissistic Bastard Nation brings us back to boring reality, unrelenting in it’s mundanity as is Nuclear Hate. Face The Facts is completely and utterly pointless, taking the forgettable parts of every thrash song and playing them all at once.

So what it boils down to is something of an identity crisis. Look, I understand that bands shouldn’t limit themselves to just one direction. Accommodating outside influences into ones oeuvre can greatly enhance once compositional prowess, but it still requires a deft hand and compositional cohesion. I even understand that Death Tribe is meant to be a celebration of something larger than just one sub genre, but Beyond Pain…. is just too…..unfocused as an album. It wants to be a jack of all trades, but has ultimately mastered only it’s most basic precepts. That’s not to say that that the songs are bad, as Kaotoan certainly understands song structure but all the constant sound hopping? Whatever core lies at the heart of Death Tribe is sadly left underdeveloped, resulting in a passable but unremarkable and collection of songs. 6/10

Reviews: Subservience, Priest, Mork, Dychosis (Paul H & Paul S)

Subservience: Ascending From The Abyss (UKEM Records) [Paul H]

There’s something instantly appealing about a band that open this EP with a track entitled Neurotic Imperfection. That title combined with some broodingly aggressive death metal from the Crawley based outfit rips at the skin on your face instantly helps to focus all the senses. Subservience have been ripping up a storm since 2010, with this EP the follow up to 2017’s well received Forest Of The Impaled. Flesh Of The Dead is an onslaught of noise with sledge hammer blows and crushing riffs. What I really like about the band is their ability to marry a huge groove with some skull splitting death metal which strikes right between the eyes. 

Dan Lofthouse carries exactly the right level of malevolence in his vocal delivery, hideously grotesque in all the right places. The Deceit Epidemic, a true statement of these disturbing times batters relentlessly, with some unholy drumming and vicious riffing ensuring that the cranial lobes throb; utilising pauses to maximum effect, this track carries an immediate impact and must be devastating in the live arena. Closing track Pathogenocide continues in much the same vein, flattening all in its path as it races towards a volcanic conclusion. A lesson in violence that all should take, Ascending From The Abyss is blistering. 8/10

Priest: Obey (Lövely Records) [Paul S]

Priest are a 2 piece based in Stockholm. Both members of the band (Alpha and Airghoul) are ex-members of Blue Oyster Cult copyists Ghost. The connection with Ghost is probably the reason why this EP has been sent to Musipedia Of Metal; as there is no rock or metal on this at all. Priest are an entirely electronic act, all the material on this EP could broadly be called dance music of one sort or the other. I must admit, I’m not that into dance music, I’m a metalhead, which is why I write for a metal blog. This means I’m a little out of my depth when it comes to reviewing this. I was quite into the Trance and Hard Techno scene in about 1998 - 2003, when Nu Metal was ruining heavy metal. If I’m being honest, I was far more into the drugs and dancing all night aspect of clubbing, than I was into the music. I’ll do my best to review this, but I’m not totally sure I know what I’m doing.

The EP opens with the title track Obey. What we get is 50% early eighties electro (Depeche Mode, Gary Newman, Human League etc), and 50% late nineties techno. The track has a standard dance 4/4 beat, that is a little reminiscent to Dead Or Alive. The track features some nice clean vocals which sound a little like Andy Bell of Erasure. Next is Neuromancer, which is the most poppy track. in some ways it reminds me of the Lady GaGa track Bad Romance (this could be because of the linguistic similarity of the titles and chorus, however there is a backing vocal that seems to reference the GaGa song). Ceremony seems to signal a less pop direction. The track is slightly more minimalist, has an interesting rhythmic style and a bit of an industrial feel to it. Next we get a cover of Street Spirit, the Radiohead song. The opening riff, played on keyboards sounds quite like a Philip Glass composition. 

The overall sound is quite like a trance track, and the vocals are heavily Vocoded, which actually fits quite nicely with the feel of the song. Final track Tria Prima 2 continues the trance from the preceding track. It’s a nice trancy instrumental, that builds up slowly, it reminds me of some of the material on Danial Avery’s album Drone Logic. Obey is a nice little Ep. I’m not that into, or particularly knowledgeable about dance music, but I did enjoy it. If I can enjoy and appreciate this, then someone who is into electronic music should really enjoy it. 7/10

Mork: Det Svarte Juv (Peaceville Records) [Paul S]

Mork is a Norwegian one man band, the man in question is Thomas Eriksen. The project has been in existence since 2004, Det Svarte Juv is the 4th album produced by Mork, coming 2 years after 2017’s Eremittens Dal. The overall sound of this album is orthodox black metal, so fuzzy, nasty sounding guitar, bass, drums, a little keyboards but only for atmosphere. There are similarities in sound to early Darkthrone and those other lo-fi second wave bands. The material is a little more melodic than than the sound might suggest. Although the sound of the album is lo-fi, the actual songs are mainly mid to low paced; only a couple of tracks have blast beats and fast tremolo picked riffs. However, don’t take that as a criticism, Mork might not be savagely blasting, but they do a great line slow, powerful, relentless and hypnotic. When Mork do blast, they know what they are doing; there might only be two main tracks that are fast and frenetic, opening track M¢rkeleggelse, and probably the fastest track on here I Flammens Favn, but when they do it is well written and has a real feeling of inertia and speed. The two fast tracks are fairly simple, but are extremely enjoyable, fantastic savagery that leaves the listener breathless. 

The slower tracks take a little bit longer to get into, but are worth making an effort over, as they are probably more rewarding than than the fast ones. Da Himmelen Falt is mid-paced and feels a little punky. På Tvers Av Tidene is slow and relentless, there is a hypnotic quality to the song that I loved. The chorus is very strong and features some exquisite chanting sections, that are just great. There is a similarity in some of the slower tracks to the band Nidingr, although with radically different sounds. Det Svarte Juv is one of the tracks that reminded me of Nidingr. Karantene is probably the best of the slower songs. It has the same relentless, hypnotic feel that a lot of the other material has, but that is coupled with a brooding, maybe even threatening feel to it. The track gets into your head, and is definitely one you will end up humming.

Det Svarte Juv is a fantastic album. It stands out in a field where there are so many bands with similar sounds. The fact that the material is different from what you would expect from a band with a second wave guitar, bass and drum sound, make it feel like a very different beast from a lot of Mork’s contemporaries. This isn’t just blasting, it’s much more sophisticated than that. There is a very interesting, mesmeric feel to so much of the material, this album takes you to different places to most orthodox black metal; and that is very special! 8/10

    

Dychosis: Sadistic Killing Machine (Self Released) [Paul H]

Formed in 2015, Dychosis is a brutal five-piece death/thrash metal outfit from Wakefield. This is a four-track EP which opens with the ferocious title track, razor sharp guitar work complementing the bludgeoning assault which hit likes a tsunami. Vocally it’s not the best, but the delivery, which is a little on the croaky rather than growly side, fits with the sound neatly. Sinister Rage is a nasty, blood curdling track, slower paced but no less heavy, shrieking guitar work once again slicing and stabbing, and a nice change of pace to accentuate the underlying groove gives the song a kick. Narcissistic continues in similar vein, with the screaming vocals once again slightly off kilter with the brutal assault. This track is for me the weakest here, although the bulldozing Chemical Straight Jacket which closes the album runs it close. Dychosis give it heavy, they give it hard and at times this is steamroller metal which refuses to stop. Plenty of potential but not yet the finished product. 6/10

Reviews: Fractal Universe, The Southern Revival, Wretch, I Prevail (Paul H, Pascal & Liam)

Fractal Universe: Rhizomes of Insanity (Metal Blade Records) [Paul H]

Following on from 2017’s debut album Engram Of Decline, Fractal Universe’s foundations for progression have been helped by appearances at several major European festivals. This is a delicious complex progressive death metal release. As intense intellectually as it is sonically Rhizomes Of Insanity is a concept album based on a thought experiment around the concept of insanity. Opening track Oneiric Realisations starts the album which finished with Chaismus Of The Dammed and throughout the whole album the listener experiences an immersive, multifaceted yet accessible collection rich in melody, invention, and packed with decimating riffs. The use of the word Rhizome is appropriate, with its use in philosophy meaning a highly complex, permanently evolving structure, where everything can influence everything else.

This is certainly the way in which the band’s music evolves over the course of this release; an organic creation which sways naturally between full bludgeoning death metal and melancholic introspection of bands such as Katatonia and Anathema. Clean melodies switch effortlessly with gravel soaked roaring growls, progressive, multiple time changes veer from one direction to another with effortless ease. In Rhizomes Of Insanity, the Frenchmen have  brought to the table an album that challenges, consumes and absorbs. If you decide to invest, it is a fully rewarding experience. 8/10

The Southern Revival: Devils Of The South (1031781 Records DK) [Paul H]

Be warned, if you search for The Southern Revival band on Google, you’ll be led to a Southern Christian band who play good wholesome songs about Jeebus. If you add the word metal to your search, you find a five-piece groove oriented metal outfit from Corpus Christi, Texas. Much more like it and much more like it in terms of music. Formed in 2016, this band are intent on putting the metal back into the Corpus metal scene and this album starts with a serious statement of intent. Sound effects of someone digging lead into the bludgeoning of There Will Be Blood. Snapping, jagged guitars, growling vocals from Joe Wilmot and a thunderous rhythm section which sounds like the bastard offspring of a filthy one-night stand between Rob Zombie and Hogjaw in a simmering cauldron which eventually peaks with some dark bluesy guitar work. From here on Devils Of The South is just one raging brew of screaming guitars, high chunky riffs and balls out hard biker style rock. Tracks like Southern Belle, Walker Texas Ranger (remember him anyone?) and Mad King are all designed to kick your ass. Big, ballsy and thoroughly in your face. The Southern Revival is definitively coming! 7/10

Wretch: Man Or Machine (Pure Steel Records) [Pascal]

Wretch is one of those bands who emerged from the underground heavy metal scene in the late Eighties. The group from Cleveland was promised a brilliant future after one of their tracks got noticed on a compilation in 1989 and they almost signed a deal with a major label. As often happens in the music industry the signing did not materialize. The band called it a day and remained dormant until 2004. From what I can gather Man Or Machine is their fourth full length. Wretch navigates between traditional heavy and power metal with some incursions in old school speed metal at times. Ten tracks in total comprising an acoustic tune and an overly ambitious trilogy called the Inquisitor.

Overall the album sometimes give me the feeling of listening to a young Iron Maiden on steroids. This is helped by the fact that Juan Ricardo the talented vocalist sounds often very close to Bruce Dickinson. It's well produced, they are excellent musicians and have a great singer but the songwriting is not overly imaginative and that’s where the problem lays. I feel bad almost because I know there have been countless hours of work put in this but honestly the outcome is far from being ground breaking. It’s pleasant and I like Steeler a title that gets interesting half way through for example. However the entire album gives me the impression of a "deja entendu", a catalogue of songs and guitar work heard a thousand times before from bands nobody remembers the name. It’s a pity because there is a genuine potential coming across. Sorry guys until the next time 5/10

I Prevail: Trauma (Fearless Records) [Liam]

I’m not a huge fan of I Prevail. Everyone was going on about the cover of Blank Space but I didn’t think much of it. And this album is kind of the same. It starts off with metalcore banger Bow Down which gives a bit of hope that the band are going in full force through the record, but alas it’s not that simple is it? Paranoid is a decent song and it has potential for a good metalcore song but misses the opportunities to make that happen. The rest of the album to me is just mediocre. Mostly being on the electronicore spectrum they don’t seem to pull it off very well. Granted the band are getting bigger and getting more of a fan base, but I'm not going to be part of that fan base. Not for me. 5/10

Reviews: Witchlords, The Flaying, Volt, Angel Black (Manus)

Witchlords: Demons In The Dark (Independent)

Witchlords have come out swinging in full force with this monstrous debut album. It’s a lot grittier than most power metal albums, with low guitar chugs and high-pitched heavy vocals on some songs adding a neat touch of evil to the demons and sorcerers-themed songs. Now the heavy vocals are one thing, but something has to be said for the impressive clean vocals too, sitting comfortably at mid-range (or at least what could be considered mid-range in power metal) but able to stretch to King Diamond-worthy highs as well. 

Full-sounding production is pretty essential in the songs with multiple vocal tracks, and the booming drums really thicken out the sound, notable on tracks with tom-rolls galore like Tomb King and Blood For The Bloodgod. There’s a lot of killer riffage packed into these 10 tunes, and most of the guitar solos totally rip. Sure, Withclords is just a little independent band at this point, but with this record under their belts, they’re not just your buddy’s band you’d catch playing background noise to 20 people at some local bar. Keep it up, Witchlords. 8/10

The Flaying: Angry Undead (PRC Music) 

Now, if there’s one thing to say about The Flaying, it’s that they’re just awesome. Simply put. And that’s not just because they’re Canadian. What is it with Quebecers and technical death metal anyway? The Flaying’s newest offering is a total onslaught of brutality, with just the right amount of technicality. Not so much that it sounds wanky, not so little that it sounds like an afterthought. Most of it comes in the form of wicked bass runs, especially on the short instrumental Egocentric Predicament, and while the bass work is what particularly stands out here, the guitars, drums and vocals all get their moments in the spotlight too. 

The albums intro, Ouverture écarlate (The Very Art Of Flaying) lasts only 35 seconds before giving way to an unrelenting barrage of eight breakneck songs. There’s not a track on the record that wouldn’t facilitate a huge mosh in a live setting, but the real beauty is that there’s so much to experience just sitting and listening to the album as well. Some of the songs are real highlights, like the insane Genuflect and the intense Angry, Undead, but the best way to listen would be to just play the album through instead of checking out a song or two. Great work all around on this one. Can’t we get bands like this representing Canada instead of Nickelback? 9/10

Volt: The Unseen (Independent)

A little thrash here and a little death there, the first release from Canada’s Volt is a pretty solid debut from a pretty cool new band. There’s some big hooks and tasty licks throughout the record, and a nice groove on some of the tracks like the aptly-titled Thrashocalypse. Oh, and the vocals are wonderfully evil-sounding too. There’s something new to hear in every song, which isn’t to say they don’t fit together as an album as well. Volt are able to prove themselves versatile musicians and writers within the thrash and death styles, while incorporating a few surprising elements too. The black metal-tinged Malicious Communion, the blues-infused Serene Deletion and the classic metal-injected The Hall Of The Northmen are all testaments to these musicians’ adaptable writing chops. With all the different factors that snake into these tunes, though, there’s none of that try-hard copycat feel. Not bad at all. 8/10

Angel Black: Killing Demons (Rockshots Records)

Arizona heavy metal quartet Angel Black have already been garnering some attention with this brand-new release. It’s pretty straight-up, just hitting all the heavy metal hallmarks and doing a satisfactory job of it. All the parts are in place, but at certain times the tunes are just a little underwhelming. Some of the solos just don’t soar high enough, some of the choruses just don’t sound as big as they seem like they should, and the vocals lack power and depth on some songs. There are exceptions, like the headbang-inducing Cyber Spy and the thunderous Black Heart. But starting on the lukewarm Strikeforce sets a tone the rest of the record tries to shake off. Unfortunately, the slow-to-mid-tempo Death Mill kicks in only three songs in, long before a slower song is due, threatening the album’s cohesiveness and making the recovery more difficult as well. The record eventually picks up some steam in its second half, but with only eight songs on the album, it comes a little late and is over too soon. Maybe a different order of songs would make this record easier to listen right through, but here it just feels like getting halfway through is a chore before it gets really fun. This is only the debut album, so while Angel Black haven’t completely come bursting through the gate, they have the potential to get better with time as they hone their musical chemistry. 6/10

Reviews: Hitherside, Brothers In Arms, Okilly Dokilly, Suzi Quatro (Pascal & Liam)

Hitherside: Blue Lotus (Painted Bass Records) [Pascal]

Hitherside is a Belgian /American band based in Antwerp according to their press pack. Which also tells you that Dirk Verbeuren, current Megadeth drummer, is playing on one track. Positioned as a female led band the two master minds in the current line up are Jennifer Summer for the American side (lead vocals) and Sam Oerlemans for the Belgian side (guitar/song writing). I don’t think classifying the second album by this band as melodic metal is actually doing justice to this emerging talent. When I watched the Blue Lotus video, the visuals were lurking more towards the indie scene than metal. Don’t get me wrong the music is rich and riff oriented but also alternates quieter and more atmospheric moments.

Opening the ball is Unsatisfy a mid tempo track with its aerial solace and superb vocals. Lovely Day To Kill has drums that remind me of the alternative group Dada at times while My Prediction has a more contemporary feel and could easily have been mistaken for a track from the Breeders. Hitherside has a strong songwriting ability. Without any doubt it’s superior to most groups but it's also clear it is still in a development phase. Blue Lotus has a touch of Tool and the nervous Get It Back is a great tune that benefits from subtle arrangements. Overall Hitherside has a very distinctive identity.

For example Asked But Not Answered the closing track is no musical collage the various styles are genuinely intertwined with brio, taste and talent and I would have loved if they had pushed the boundaries a bit further on that track. This full length is very encouraging and while not all the tracks are equally strong the vocals alongside a strong musicianship will definitely place those guys on my watch list. They are just different. 8/10

Brothers In Arms: Brothers In Arms (Swell Creek Records) [Liam]

I’m not a big fan of the hardcore genre. I mean the music is good but the fanbase and that ridiculous hardcore dancing ruins it. But anyway, on with the review. This album is pretty decent for a hardcore record. There are a few guitar hooks and part that had me singing along. Opener 161 is straight up face melting hardcore. But the songs that really take the spot are One With The Violence, Weapon Of Choice & Bound To The Hardcore. Those songs are just perfect and a good way to lure someone into hardcore without just dropping them straight in the whirlpool. This is a gem of an album and a underground masterpiece. 8/10

Okilly Dokilly: Howdilly Twodilly (Self Released) [Liam]

The concept of a Ned Flanders metal band is quite frankly stupid. But, somehow, Okilly Dokilly have pulled it off. I was a big fan of their debut album Howdilly Doodilly. With the main single White Wine Spritzer being a personal favorite. With singer Head Ned being the only remaining member from the first album, it’s a different sound they’ve gone for with this record. Mainly sticking to the low guttural vocal side rather than switching between the highs and the lows is a bit of a let down for me. The instrumental side of the album is brilliant.

The riffs and drum work complement each other that it’s impossible to either air guitar or drum along to the songs. But the album itself seems a bit draw out and stale. Kind of like it was rushed and they didn’t really have many ideas going into the studio. I mean some of them work, such as I Can’t It’s A Geo & Purple Drapes being favorites of mine on the record. But the record itself is down by the fact that there’s not many singalongs like the first. Shame really. 6/10

Suzi Quatro: No Control (SPV) [Pascal]

I read the name on the file twice. Repeat after me I said to myself: Suzi Quatro. OMG this is intimidating. Partly because her name is iconic in the genre of glam, hard rock, garage rock or blues and partly because I am not very knowledgeable about her body of work. Even though I am not that young, I was not even born when she started so really how am I going to approach that one in terms of references? Call me a heretic but how about we treat this review as if it was her first album (at least to me).

First track No Soul No Control is a nice hard rockin’ tune with a cool keyboard swing. Here Suzi claims her independence, and rightfully so. Was she not one of the first rocking girl in the 70’s who opened the doors for the likes of Joan Jett, the Runaways and other Girlschool? Its classic and efficient albeit not mind blowing. Same can be said for the tracks Macho Man and Heavy Duty which are both well delivered. Apart from these tracks I'm really failing to get excited about tracks such as Going Home despite its harmonica and sing along chorus, Love Isn’t Fair is pretty insipid, the rest is of the same vein with some Mexican, Caribbean influences, jazz or blues arrangements depending on the track.

For example Easy Picking is a pop blues tribute that leaves me cold. Maybe the nostalgics and die hard fans will probably have a different opinion but this is not current (and does not pretend to be), even the production while being very slick is a bit stuck in a time warp too. I think if you are willing to take a trip to memory lane this album is probably for you but in all honesty I am not sure it was a necessary add-on to her legacy.

Maybe it's time for Suzi to adopt a position similar to Billy Joel who consciously stopped recording more than two decades ago in order to concentrate on live shows and mini tours. As we are reaching the final part of the review, I am wetting my pants at the idea I have to give a review score to such a legend. I suppose out of respect I'd have to give: 6/10