Reviews: Bitchhammer, Dwarrowdelf, Blind Monarch, Bewitcher (Paul H & Matt)

Bitchhammer: Offenders Of The Faith (Iron Shield Records) [Paul H]

Leipzig’s Bitchhammer’s name could be seen as offensive by many and it strikes as a bit crass and typically old school. If you can get past that, what lurks underneath is a debut album of blackened thrash laced with demonic and Satanic themes. Formed in 2008, the band is a three-piece, playing under the ludicrous pseudonyms of I Basstard Priest, Jack Frost and Majesty Of Hell. Having already got two EPs under their belt, the most recent the 2015’s Raging Hell Rivers, the band already have some recording experience and it is demonstrated here with some quite blisteringly sharp blackened death metal. Lacerations run deep from the intense fire power the three Germans possess, with an underlying groove which gives the band momentum. 

Tracks like Fear No Evil, the anthemic Satanica and the atmospheric build up to Bitchcraft hit the mark well. Bitchhammer aren’t going to win the muso prize of the year, but they do make one hell of a thrashing old school sound which snarls with aggression throughout, The production harks back to the old school as well, with a pleasing muddiness as the drum sound fights with a gnarly bass and down tuned guitar. Repetitive tremolo picking, crashing drums and vocals that spit forth their malice all work to create a piece of work ten years in the making. Overall, it’s probably worth the wait. 7/10

Dwarrowdelf: Of Dying Lights (Deavhronun) [Paul H]

Atmospheric epic metal from Southampton in the shape of Tom O’Dell’s one-man project. Based on the works of Tolkien’s Middle Earth, where the Dwarrowdelf is translated from Khazad-Dûm, the translation roughly meaning ‘dwarves delve’. The album loosely addressed the concept of light and darkness within the eras of Middle Earth and follows the well received debut release Sons Of Fëanor released in 2018. I often struggle with solo projects from multi-instrumentalists, my main reasons being a lack of cohesion and passion but O’Dell has overall managed to bypass that criticism with an album of some quality. With equal parts black metal tremolo riffing and gentle ethereal sections, there is plenty to enjoy. 

Opening track Arien [In Tolkien, the maiden who guides the vessels of the sun], one of four tracks to pass the eight-minute mark, embarks on a journey which involves a simple keyboard riff over heavy riffing and rich symphonic synths. Where Daylight Dies features an atmospheric keyboard opening which is soon joined by a repetitive riff and drumming, the haunting backing vocals of Sojurner’s Chloe Bray and O’Dell’s strong clean vocals. Melancholy also features with The Year of the Trees, a three-and-a-half-minute reflective instrumental which builds slowly, the strong use of keyboards evident. It’s not the strongest track on the release but allows a calm pause amongst the maelstrom around it. 

The Line Of Thrór [Thorin Oakenshield’s father – King Under The Mountain] changes the tone completely, an undulating and rhythmic track which once more is fleshed out by deep synthesisers and an anthemic set of lyrics. Home Of The Dead closes the album, a dark and brooding piece which brings everything to a neat finish. There are still traces of the one-man project here, and there is an absence of depth at times but overall this is a solid and enjoyable release from an exceptionally talented individual. 7/10

Blind Monarch: What Is Imposed Must Be Endured (Black Bow Records) [Matt]

According to Blind Monarch’s bio/blub: “What Is Imposed Must Be Endured was recorded over 4 days in the cold darkness of the derelict Penny Red building, Hull, Northeast England, November 2017.” It has taken until 2019 for this throbbing, stark slab of extreme doom metal to bring terror to the listening public. At just four tracks long don’t expect an easy ride as this album is full of sparse drum hits, gargantuan guitar chords and snarled vocals that bring every track over the 10 minute mark, which helps you, feel that bleakness from the start surroundings that it was recorded in. Suffering Breathes My Name lumbers from from your speakers at 13 minutes in length before My Mother, My Cradle, My Tomb does the impossible and makes thing slower again with more ambience. It goes on like this one long drawn out track after another until you have to turn off due to the similarity of every song, there’ no variation at all and it’s a poorer release because of it. You certainly have to endure this record; it’s only for the hardcore. 5/10

Bewitcher: Under The Witching Crown (Shadow Kingdom Records) [Matt]

This is decidedly retro, speed metal, Satan worship, the second full length from Bewitcher could have easily been from the same period as Venom’s Black Metal or Celtic Frost’s Morbid Tales, it’s 33 minutes of light speed riffs, sleazy Satan worship and toilet bowl production, that the black metal elitists who only buy on cassette tape will go nuts over. It’s difficult to pinpoint anything particularly bad about this album just that it sounds dated, although that is deliberate I assume, it’s just a homage to the bands influences but at just over half an hour it gets your head banging and foot tapping with raging numbers like the drum propelled title track and the utter ragers that are Savage Lands Of Satan and Too Fast For The Flames¸ as In The Sign Of The Goat gives things a bounce, while Rome Is On Fire brings Motorhead snarl. If your bullet belt hasn’t dulled and your Baphomet still stands proudly then grab your leather finger-less gloves, turn up Under The Witching Crown and get lairy like it’s 1984. 7/10

Reviews: Archivist, Riot City, Bright Curse, Amulet (Paul S, Sean, Paul H & Matt)

Archivist: Triumvirate (Alerta Antifascista Records) [Paul S]

Archivist are a European six piece, I use the term European as the band is made up of Hannes (Bass), Steff (Drums), Gerfried (Guitar) and Matthias (Guitar and Keyboards) who are all from Austria. They are joined by German vocalist Anna, and English vocalist and artist Alex CF. The band have produced 2 albums before Triumvirate; 2015’s self titled debut, and 2017’s Construct. Triumvirate is the final part of a trilogy, a trilogy that tells a story about the end of the human race. The bands Facebook page has the whole story written in prose (it’s well worth a look, especially if you are into Science Fiction, as I am. It reminded me of intelligent sci-fi like Ursula Le Guin, Stanislaw Lem or Philip K Dick), but there is also a heavily abridged version of the story: “……which follows the unwitting survivor of a massive ecological disaster. The last human alive, yet in relative safety aboard the only remaining ark jettisoned from a dying Earth, she begins to record her memories of the world left in turmoil by humanity's short sightedness and greed”.

The album starts with a sample of someone saying “My god, it’s full of stars”, which is the sample that the album that precedes this one (Construct) ends. The 3 albums are very clearly a complete piece of work, Triumvirate being the final third. Opening track Deus Ex Machina features tremolo picked riffs, with blast beats, but they feel a little relaxed, maybe a little like Deafheaven. Most of the time the riffs are layered, so the main tremolo picked riff might be harsh and minor in key, but there will always be a riff that goes over the top that feels uplifting and more major than the other riffs. This means that on a lot of the material on this album, although it may be heavy and aggressive, there is always an uplifting, positive element. The band refer to themselves as ‘Ethereal Metal’ which is a title that fits very well with this sound. Second track The Endurance, has a slow doomy start, before going into discordant tremolo picked riffs. This track feels more brooding, and maybe a little bit more sinister. The song comes to an end with clean riffs and vocals that feel a little bit New Wave.

The Proposition is a softer track. The start has a soft Post Black metal feel to it, maybe even Post Rock. As the song goes on, it gets faster and more purposeful, driving forward. This track does have some very melodic and tuneful sections which reminded me of Alcest. Next we get 3 tracks that are titles Iteration One, Iteration Two, Iteration Three. Iteration One: Messianic Synthetic starts with blast beats and tremolo picked riffs, but melodic and not that aggressive, the track sounds huge, lots of layers and a pacing that is almost perfect. There is a very quiet part about two thirds of the way through, before the track gets heavy, heavy but uplifting, till the end. Iteration Two: Infernal Automaton starts very heavy, but it’s that uplifting heavy, that Archivist are so good at. The opening blast beat feels aggressive, but then the band layer in loads of other guitar lines and we are in that cathartic, heavy, fast and aggressive, but also positive sense. This track feels expansive, huge in all the best ways. The song comes to an end with clean vocals added to the already huge mix, and it is so good. Iteration three: Anopheli starts with a massive heavy bass line. This bass riff leads us into a very heavy section, very doomy. The doomy riffs then morph into very fast aggressive blast beats and tremolo picked riffs, probably the harshest on the album. This extreme section them transitions into a softer, but brooding part, that has a little of that new wave feel to it. The track moves to an end with more blasting, but in a more positive way than before.

Ancestor Descendant starts with a simple distorted riff, before going into a very Gothic part, which is similar to some of the New Wave material, but darker in tone. The track gets heavier and nastier as it goes along. This is signalled by the clean vocals being joined by harsh vocals. The track is melodic, but it’s a darker melody than anything else on this album, beautiful but dark. Ouroboros brings the album to an end. The song is doomy and slow, with a dreamy, relaxed tempo. As the song goes on it gets heavier and heavier, until a blast beat and tremolo picked riff comes in and slowly the positivity returns. This track has the expansive, huge feel to it that is all over this album. The track comes to an end very quietly, and beautifully. As an album in its own right, Triumvirate is a fantastic piece of work. As the final part of a trilogy, it is stunning. The album feels huge, and uplifting. I’ve got the other albums in this trilogy, and Triumvirate fits the other 2 albums perfectly, you can listen to them as a 3 and a bit hour long album (I have, it’s amazing). This is so detailed, so many layers, so much thought has gone into producing this album, it’s nearly unbelievable. The album is a mix of Post Black Metal, Atmospheric Black Metal, Doom, New Wave, Gothic, and just about anything else they felt like including, and it all fits together so well. Highly enjoyable, highly detailed, highly intelligent, and highly recommended. 9/10

Riot City: Burn The Night (No Remorse Records) [Sean]

Bloody hell, look at the fucking cover! It’s glorious! When there’s an eagle (or hellion) with a FUCKING LAZER EYE welded to its skull, chances are this isn’t going to be a soft rock album. Cooler still is that logo, resplendent in both font and flavour. This is the sheer radness that is Canada’s own Riot City, rejecting all moderns trends in the sole pursuit of pure Eighties speed. I mean shit, looking at that name, you should know what to expect. Big riffs, big vocals and all the break-neck blitzkrieg (now there’s a song title) tempos you could ever ask for! Worshipping from a throne made of thunder steel (hurr) and arriving with the subtly of an atom bomb is their debut, Burn The Night. So strap yourself in, put on some aviators and mash the large button marked “turbo”. Yah know, that one that Captain told you never to press during flight training. Ready? ENGINES ENGAGED! YOU HAVE BOOST POWER! GOOOO!

Right of the bat, Warrior Of Time comes exploding out of the gate. It’s all here, chunky traditional metal riffing, galloping drums and all the metal wailing one could ask for. Guitarist/ lead vocalist, Cale Savy, screams Halford like battle cry after battlecry, with rest of Riot City hurtling along in his wake. And then the shredding starts, already upping the ridiculous amounts of energy exploding form my speakers in a torrent sparks, lasers and PURE FUCKING METAL! Kickass start, quickly followed up by title track, Burn The Night. Upping the pace, Riot City blast off at warp speed, riffs coming thick and fast with the rest of the band providing some truly meaty choruses. In The Dark fools us into a false sense of security via a conveniently placed acoustic intro, before slamming down the accelerator and resuming their usual mach speed. Man, those solos bro! Fretboards are blazed and all is reduced to dust, as it bloody well should be!

Still reeking of scorched denim and leather, Living Fast does exactly what is says on the tin, giving it all the chunky business with gangs shouts to boot. STEEEEEEEL is exactly what the The Hunter brings, which I can only assume is about the mecha-eagle plastered on the cover. Even if it’s not, it should be as much bottom is kicked. It’s short interlude grants us some respite, until we’re treated to dual guitar harmonies and the inevitable return of the SPEED! Fuck, I wanna watch old Gundam now. Or Silverhawks. Anyhoo! Steel Rider takes the tempo to the max, channeling every inch of Riot in an awesome conflagration of riffs and EVEN MORE SHREDDING! Oh Riot City, you really do spoil us. 329 is a straightforward number, though no less formidable and packing as much punch as everything that came before it. It ends with Halloween At Midnight, the band bringing their full technical prowess to the bear, before firing all thrusters and blasting off into the night. Fuck yeah.

In the words of WWF’s Animal, “EEEEEEEEEUUUGH WHAT A RUSH!!!” Which is exactly what Burn The Night is. Riot City should be damned proud of themselves, as they’ve managed to distill EVERYTHING killer about 80’s speed/heavy metal, everything you love about those classic bands (you know who they are) and into a veritable explosion of metallic brilliance. From it’s tight, authentic songwriting to it’s stunningly accurate production (it’s fucking gorgeous), Burn The Night simply fucking rules, slaying wimp and poser alike. So once more, but with feeling! *ahem* STEEEEEEEEEEEEL!!!! 9/10

Bright Curse: Time Of The Healer (Ripple Music) [Matt]

Formed in London in 2012 Bright Curse released their debut full length Before The Shore in 2016, they have followed it up 3 years later with this five track release that clocks in at 40 minutes of doomy, psych rock which shifts between all three with ease the voice anguished as the low slung riffs drag their knuckles across the floor occasionally giving way to some flute (from vocalist/guitarist Romain on Smoke Of The Past or trumpet from jazz player Dylan Jones like they do on Laura and the title track. It starts out slowly Smoke Of The Past building and building with Romain Daut, Sammy Deveille (bass), Mark Buckwell (drums) and Tommy Foster (guitars) all locked in unison for this atmospheric beginning to this sophomore record, before it freaks out into a screaming guitar solo. It's a fog that doesn't lift for the reminder of the album, hanging like a brain fug as these songs slither into your ears heightening your consciousness with every note, Shadows especially features some droning spoken word over the doomy bass driven vibes. Time Of The Healer is a psychedelic trip through Bright Curse's collective psyche, it's a long slow trip of music that is primal and esoteric. 7/10

Amulet: The Inevitable War (Dissonance Productions) [Paul H]

One listen to the opening tracks on this album, The Satanist and Shockwave, would be enough to convince anyone that this was a band who’d disappeared without trace in the 1980s only to decide to reform on the wave of nostalgia for NWOBHM bands. But no, whilst the NWOBHM influence is clearly the style that the band are after throughout this competent release, Amulet surprisingly only formed in 2010. With their cleverly titled The First debut album released in 2014, the follow up once again harks back to those halcyon days where metal was metal, cut off denim and leather was essential, and the mullet ruled. Lead singer Frederico Mazza does his best to sound like Bruce Dickinson circa 1985 but even the delightful acoustic interlude La Noche de las Graviotas fails to save it. The Inevitable War poses only one question. Why would you want to sound like that? Competent it may be, but there is nothing here to get excited about whatsoever. 4/10

Reviews: Centrilia, Disposable, Earth, LICE (Matt & Paul H)

Centrilia: In The Name Of Nothing (233 Records) [Matt]

In The Name Of Nothing the debut from Glaswegian bruisers Centrilia was produced by Terry Date, if the name sounds familiar then just check out albums by Pantera, Deftones and Slayer to see his pedigree. It’s only fair to assume then that he knows a bit about heavy and Centrilia are heavy, brimming with aggression and a razor-sharp modern edge, they pack a mighty punch without sacrificing melody. As I’ve said this is their debut record and it comes after two previous EP’s and numerous live shows supporting big hitters like Rob Zombie, Soulfly, Crowbar, Decapitated and Arch Enemy, it’s probably one of the most versatile but heavy records of the year so far as Symptoms Of Betrayal gets us started as it builds from an almost silent beginning before harmonized riffs kick in and the Machine Head influence is writ-large both musically and vocally.

Big thick grooves are met with thrashier sounds and you get sucked into Centrilia’s world from the first moment as the riffs wash over you with punishing blast beats and fret slides added to the mix. Then we get Spitting Hairs, Splitting Teeth which owes more to Slipknot with as the drums play a prominent role, with MFH coming back on Imposters due to the clean Rob Flynnesque vocals. The record brings the heavy with every song even ducking between groove/metalcore heaviness and more progressive Tool-like furrows on the closing Tamam Shud. A strong debut record from Centrilia,  In The Name Of Nothing is Vulgar Display of Scottish Power! 8/10

Disposable: Suffocator (Self Released) [Matt]

Suffocator is Edinburgh band Disposable’s second full length album and at its heart it’s thrash album, but it has a lot of crossover appeal with a hardcore edge, some death metal heaviness and lashings of groove neatly constructed into progressive compositions Arrive Alive, Leave Dead the second track on this record has groove driven thrash riffs, the bleed into a trade off solo section and then a breakdown at the end, before Sick To The Back Teeth explodes into an abrasive hardcore frenzy. It’s a bit Gojira, a bit LOG, with some Hatebreed to really get you moving, showing what a talent this band are as each song on this record rapidly shifts tone, leaving you not knowing what to expect, but banging your head regardless.

Having never seen the band live I can’t comment on whether they are this furious live but I’d like to think so as their music seems like it’s built for causing pits, due to the instrumental sections rarely letting up in their intensity or thick grooves. Disposable are William Robertson – bass/vocals (but basically barks), Oliver Wardell/Jack Batcharj- guitar and Liam Tucker – drums and this second album is a dense piece of metal from a band so early in their career. Ferocious riffs are paired with aggressive vocals on Faceless (though the cleans need work), but it’s hard to pick out just one song on this 8 track offering as they are all at such a high level, though I do have a little bit of soft spot for the closing title track which is a perfect heavy yet progressive song to end the album with. If experimental thrash metal that spans death, groove and hardcore are your bag then pick up a copy of Suffocator from Scots Disposable who are anything but. 8/10

Earth: Full Upon Her Burning Lips (Sargent House) [Paul H]

Whilst aware of Dylan Carson and his band Earth, it would be fair to say that I wasn’t familiar with much of the band’s work. Full Upon Her Burning Lips is Earth’s ninth album, coming five years after 2014’s Primitive And Deadly album. Since 2000, Carlson and fellow band members Adrienne Davies, Don McGreevy, Bill Herzog and Brett Netson have moved away from the previous ‘ambient metal’ noise which formed part of their earlier sound. This latest release consists several shorter tracks in its 62 minutes, although two tracks still clear the 11-minute hurdle with ease.

As with most ‘drone’ music, there is lengthy repetition in each of the tracks, drawn out passages and long notes. Earth do at least add drums and some jazz style fusion to their delivery, the upshot of which is an album that in the main moves with reasonable pace. Fully instrumental, the shorter tracks such as The Color Of Poison, The Mandrake’s Hymn and Maiden’s Catafalque appeal more although the winding, unhurried approach of 12-minute opener Datura’s Crimson Veil and She Rides An Air Of Malevolence are superb for total relaxation. I will admit to dozing gently on and off as this album was played, such is its sedative effect. Don’t play this when driving or operating heavy machinery; Full Upon Her Burning Lips will then be an album of some joy. 7/10

LICE: Woe Betide You (Seasons Of Mist Underground Activists) [Paul H]

Maintaining a rather shadowy profile, this release from avant-garde black metalists LICE is a curious one. At times crushingly heavy, other times ethereal and delicate, but always strangely captivating. The band comprises J (Teitanblood), Niklas Kvarforth (The Shining) and guitarist Kirill Krowli. Focusing on subject matter which includes: ‘the stunning beauty of decomposition, the nauseating stench of sex, the wisdom of the murderer’s knife, the mask behind the mirror, the endangered longevity of the well-intentioned sociopath and the soothing devastation of loneliness’, each track offers something different from its predecessor. 

Opening instrumental Beyond Eternal Recurrence leads into the real opening track, Layers Of Dirt and from here on it’s a journey to the carnival bizarre as LICE career out of control, switching between gothic, alternative, industrial and black metal which all contains atmospheric creations of majestic proportions. It’s a little too nuts for me at times, the cacophony enhanced by the unique vocal delivery, which is surely based on inmates at the asylum, such is its haunting insanity. However, whilst it is definitely a little on the crazy side, tracks such as Roadkill and lengthy closing track And So The Ceaseless Murmur Of The World Came To An End contain some beautiful playing. Challenging and oh so interesting. Dare you take the plunge? 7/10

Reviews: Saint Vitus, Myrath, Hollowstar, Damnation's Hammer (Paul H & Matt)

Saint Vitus: S/T (Season Of Mist)

Now if you've ever smoked a doob, drunk a beer or rocked out at a doom, sludge or stoner show then you have Saint Vitus to thanks for it. They themselves were influenced by the occult bands like Black Sabbath (mainly the name), Pentagram and Witchfinder General but throughout their career they have become one of the leading lights in doom/stoner metal, influencing countless bands as I've said. So what about this new self titled album, well it's their second to be self titled. It proves to be a prophetic title as it sees Saint Vitus once again in rebirth as bassist Mark Adams left after their 2012 album Lillie: F-65 his place taken by Patrick Bruders. Gone too is Scott 'Wino' Weinrich their highest profile vocalist, who has once again been replaced by original SV singer Scott Reagers in 2015.

This is their first album with this line up and you can feel that it's original guitarist Dave Chandler reclaiming his band aided by a co-founding member, the slumbering doom of Remains kicks off the album with a creeping low riff from Chandler, things get more ethereal on A Prelude To which is built on Patrick Bruders bass and leads into the classic sounding Bloodshed which feels like a proto-metal rocker, mainly due to Reagers cleaner more dramatic vocal approach. The fuzz on this record pervades through everything as do the lyrics about drugs and the occult, add this to the analogue production and it sounds like so many Saint Vitus' early works. A new album from such an influential band will always be anticipated and welcomed  and this live up to any hype it will garner. 8/10   

Myrath: Shehili (earMusic)

Three years since the excellent The Legacy was released, Tunisian outfit Myrath are back with their sixth album, Shehili. The Legacy was followed by a support slot with Symphony X in the UK, and I was lucky enough to catch them at the much-missed Bristol Bierkeller on that tour where they produced a quality performance. The band has had a stable line-up since 2012 and Shehili continues where The Legacy left off with a real blend of influences intertwined throughout their music. The band describe their sound as ‘Blazing Desert Metal’ but that doesn’t really cover the kaleidoscope of sounds and images that the band create. Shehili has a deeply melodic feel underpinned by a steely backbone which allows the band to let loose at times.

You’ve Lost Yourself is almost Eurovision in its soaring emotional delivery, vocalist Zaher Zorgati giving a superb performance whilst there is still enough gritty guitar to earn it the ‘metal’ badge. The oriental flavours so prevalent on previous releases remain pleasingly up front and central, nowhere is that more evident than on Dance, which pays tribute to a Syrian dancer who was threatened with death by ISIS. Similarly, the Andalusian influences which have always surged through the band are present on Monster In My Closet, which sways with progressive pomp. Lili Twil is partially performed in Arabic, benefits from dramatic string sections and radiates with warmth. Listen to the joyous No Holding Back and I defy you not to be uplifted. It is almost pop in places, but the Oriental influences always return captivate and envelope the listener. There isn’t a label that can be placed on this stimulating and exciting band and that is such a good thing. Listen, relax and enjoy some of the best alternative rock and metal of 2019. 8/10

Hollowstar: Hollowstar (Self Released)

May 2017 and Some Things Matter, the debut EP from Cambridgeshire outfit Hollowstar received an 8/10 from yours truly. “This is the music you want at a sunny festival with a cold beer in your had and good friends by your side” I said at the time. Two years and many high points later, Hollowstar return with their eponymous debut full length release. Having pushed hard in the world of classic hard rock, the band gained airplay on Planet Rock and Radio 2, nominations for best band in the Planet Rock 2019 awards and features in Classic Rock magazine. And once you’ve listened to Hollowstar you’ll be able to see exactly why this band are receiving such accolades. Accessible, clean, competently performed hard rock which will appeal to a wide audience.

Drawing on influences including Thunder, Slash, Alter Bridge and Black Stone Cherry to name but four, this is a rather special album which can distance itself from some of the more mundane classic rock bands on the circuit today. Let You Down, Good Man Gone (great riffs and hook) and the rip snorting Sinner which closes the album all have melody to spare but possess a solid backbone which allows the band to rock and rock hard. Sure, they fit neatly into the Planet Rock target, but sometimes that isn’t so bad. Hollowstar are rising. This album will fuel that elevation. Hollowstar will hit Wales a few times over the next few months, including a headline show in Ebbw Vale on 25th May, Steelhouse Festival and as opening act for Bernie Marsden in September at The Tramshed. They will go down a storm. 8/10

Damnation's Hammer: Unseen Planets, Deadly Spheres (Self Released)

This is a bit of a beast! Unseen Planets, Deadly Spheres was apparently released in February this year, though some places say 2017 but I'll go with the band's Bandcamp and say 2019, mainly because they have been announced for Bloodstock this year so I thought it would be a great chance to check out the sophomore album from this Northern powerhouse. Formed as a homage to the avantgarde metal of the 1980's. They have tried to create a dark, doom laden style of metal, with a lot of atmospherics behind it, with their debut album released in 2013. Damnation's Hammer have a sound that straddles thrash, doom and classic heavy metal from the thumping opener Temple Of The Descending Gods, through the thrashy blitz of Deathcraft that breaks down to chunky stomping in the middle. This stomp continues on the title track, which shifts throughout it's 6 minute runtime.

I don't really know where the avantgarde ideal comes from as this is primarily a doom/thrash album as the distorted guitars lead the way with some laser-focussed precision, but the ability they have to make a stylistic shift in an instant shows you that this band are technically impressive. However I will say that for all the progressive touches this record has the guitar sound very rarely changes at all meaning that if it wasn't for some of the brooding intros and crashing crescendos it would be difficult to decipher where certain songs end and begin. Still that's a minor thing when they have songs like the thundering Gates Of The Necronomicon and the crunching Hammer's Of War it doesn't really matter. Unseen Planets, Deadly Spheres is a great album for riff lovers and doomsters alike. 7/10

Reviews: Kenny Wayne Shepherd, Idle Hands, Silver Bullet, Warmrain

Kenny Wayne Shepherd: The Traveller (Provogue Records)

Kenny Wayne Shepherd came to the attention of the world-at-large when he was a young hotshot back in the early-90's. This is the way so many of the current crop of blues guitar players made their name but Kenny Wayne Shepherd has stuck around, touring the world numerous times becoming something of a blues rock troubadour. This is probably why this record is called The Traveller it's the music made by a seasoned journeyman of the stage who still wields a Stratocaster both teasing and abusing it in equal measure. He's now 41 year old and has a wealth of experience to draw upon which means songs such as Long Time Running tell of a man who has been there and done that but can still bring firebrand solos to this record, they have become his trademark. From the brass filled I Want You through the more countryfied Tailwind, the percussive We All Alright and the brilliant Take It Home (which has the radio-baiting of Black Stone Cherry). On this album Shepherd has tried to feel the song rather than just use his guitar prowess like he has previously, something he owes to Stephen Stills who he plays with in The Rides. I've not been too familiar with Shepherd's work in the past but with a soulful Southern vocal delivery and impressive guitar chops, I think I may need to revisit some of the Louisiana natives previous releases. The Traveller is KWS as he is now, a husband, father and songwriter, with age comes experience and this shines through on The Traveller. 8/10

Idle Hands: Mana (Eiswald)

Mana is as Goth as wearing all black in the sun, you can just imagine the members of the band protecting their porcelain white skin with black lace, leather and sunglasses even at night, add to that a bit of sleaze and heavy metal posturing and you’ll be on to a winner. With some booming Glenn Danzig-like vocals and a melodic NWOBHM styled music below it, Portland natives Idle Hands debut album is a melting pot of 80’s influences with metal, new wave and Goth rock all delivered by former members of the band traditional metal band Spellcaster. Idle Hands is the sole creative outlet for former bassist Gabriel Franco, who now handles vocals and rhythm guitar, supported by Sebastian Silva – guitar, Brandon Hill – bass and Colin Vranizan - drums.

If you remember the band In Solitude who shone brightly with three albums of Gothic NWOBHM, before exploding into bats (probably) then Idle Hands will be right up your darkened street. Tracks such as Don’t Waste Your Time creep with a swaggering metal riff while Give Me To The Night has the anthemic quality of The Misfits and Blade And The Will gives you a peek at what The Cure would sound like playing Maiden covers. It’s going to appeal to both Goth fans and metal fans due to the amalgamation of sounds here and of course everyone loves miserable lyrics (see: Double Negative). Their EP was critically acclaimed and I can see this being the same, it’s a really good album, which came as a surprise to me as I can struggle with the Goth label. This is a heavy metal band in Goth trappings and a great metal band they are too. 8/10

Silver Bullet: Mooncult (Reaper Entertainment)

Probably known as the best way to dispatch a werewolf, it's ironic that Silver Bullet sound so much like the German masters of Lycanthropic power metal Powerwolf. From the grizzled vocals, to the tougher edge on the riffs Mooncult is only this Finnish bands second album but it's a fine power metal album that has equal amounts of metal and orchestral elements blending both very well, it's a concept album loosely based on the North Berwick witch trials which lends itself to the band's theatrical nature, meaning that tracks such as Maiden, Mother And Crone (not a The Sword cover) hit you over the head and to be honest it's relentless, there are very few breaks you get with other power/symphonic metal acts, no ballads just bombastic power metal meaning that unless you really love this genre to death it may be a little overwhelming. Even on the slower numbers like Light The Lanterns (Scavengers Of Death) there's still blistering blast beats and orchestral swells. Mooncult is a suitably epic second album from this Finnish act, a band who would go down a storm on the Bloodstock stage. 7/10

Warmrain: Here Comes The Rain Again (Rain Recordings)

Look at the title, yep the self proclaimed "quintessentially English prog band"  Warmrain cover THAT song on this EP, it's a stripped back acoustic version of the song, which goes into a full band on the chorus and for the soaring solo. Warmrain is the brainchild of singer songwriter Leon Russell and this album sees a line up change but the same level of musical brilliance that has always been associated with the band. If you're a fan of Steven Wilson, John Mitchell and Pink Floyd (Clock Watching) then Warmrain will tickle your whiskers, in fact Wilson/Mitchell's drummer Craig Blundell guested on the title cover after hearing the demo. The rest of the album consists of their own original material that is in the same vein as the cover, it's all very ambient and Canterbury scene, in places the vocals are whispered and barely audible but it's all part of the compositions on this EP. If a more laid back approach to prog is your thing, then Here Comes The Rain Again will serve a timely reminder why progressive rock is a proudly British invention. 7/10

Reviews: Amon Amarth, Istapp, Solar Haze, Sarcasm Syndrome (Paul H, Sean & Matt)

Amon Amarth: Berserker (Sony International) [Paul H]

Album number 11 from the kings of melo-death Viking metal. The Swedes have built their success on relentless hard work, high profile touring and anthem after anthem that appeal to hardened death metal fans as much as those whose tastes hover around the Iron Maiden heavy level. They have moved a long way from their origins as a grindcore band known as Scum. Recent Amon albums have been slightly weak in my opinion, with the concept themed Jomsviking lightweight in comparison to their earlier works. In fact, whilst the band have delivered long ship after long ship of routine anthems, you’d probably go back to Twilight Of The Thunder Gods for their last truly great album. Well, Berserker may not be quite there, but it is close to matching the 2008 release. The album continues the typical Norse themes that the band have made their own, but with some more personal reflections within the lyrical content and individual tracks based on events rather than a whole thread running through the release. Johan Hegg’s distinctive roar, the duel guitar work of Olavi Mikkonen and Johan Söderberg, and the concrete rhythm section of Jocke Wallgren and bassist Ted Lundström, knitting tightly as a unit once more. Opener Fafner’s Gold is typical robust Amon Amarth fare, second single Crack The Sky roars as if sent from Odin’s Golden Halls whilst first release Raven’s Flight is reminiscent of 2004’s Fate Of Norns, the album where Amon moved more towards the melodic style that they have forged as their trademark sound ever since.

Shield Wall is a monstrous track, set to become a live favourite, the use of a lone piano to close Valkyira is welcome whilst the massive The Berserker At Stamford Bridge tells the tale the lone Viking fighting the English in 1066 [sadly not about Cardiff City’s last visit to Chelsea]. Whilst Amon Amarth have a formula that works and which they stick to with some rigidity, there is enough change in the hooks, melody and approach to allow each track to stand alone. Berserker also contains very little filler and continues to maintain a high level of quality through the final songs, with the dramatic orchestral introduction to the closing Into The Dark adding atmosphere to one of the band’s strongest tracks in many years. You know what you get with Amon Amarth. This is why the band have built from club size to headliners of festivals. Berserker is another welcome addition to an already impressive catalogue, for one of metal’s most important bands. 8/10

Istapp: The Insidious Star (Trollzorn Records) [Sean]

I thought I liked snow, I really did. I also thought Immortal did too, they’ve certainly made it no secret over the course of their career. You know who else really likes snow, making Blashyrkh look like the Maldives? I mean REALLY likes snow? Who worships that stuff that Bing Crosby and Dean Martin sing about to apocalyptic, doomsday cult levels? Black Metalers Istapp, that’s who! In case you’re unaware, Istapp (meaning icicle in Swedish) have been waging war against all things warm since 2005, culminating in a first offensive via their debut, 2010’s Blekinge (which is fucking great!). The brainchild of drummer and clean vocalist, Fjalar, Istapp have returned from their frostbitten kingdom (or Sweden) to finally extinguish the sun, bring about absolute zero temperatures and ensure that NOBODY gets to work at the appropriate time. Hell bent on inconveniencing all pathetic sun-worshipers alike, Istapp’s latest strike comes in the from of new and 3rd album, The Insidious Star. Grab your fleece, it’s going to get a bit chilly up in here…..

Eternal Winter kicks things off, blasting along in typical Istapp fashion. Blasbeats, wintery rasps and that melodic blackened riffing that’s we’ve come to know and love. Tremolo picking, melodic leads and a clean chorus greatly add to the songs anthemic nature, though given Istapp’s track record, it comes as no surprise and great start. What IS a surprise though, is the usage of English, absent on their previous releases. We quickly return to their native tongue with the even paced Dit Stolen Aldrig Nar, wading deeper into the wintery blizzards. The songwriting is again on top form, folk infused melodies working their way to the fore once more, reminiscent of the mighty Windir. Natten Da Gud Blundade is more of the same, though no less impressive with returning vocalist Tizheruk’s raspy snarls answering Fjalar’s soaring cleans.

Snowball Earth (lol) flirts with major keys, adopting an almost jig like pace to the proceedings. Muspelheim hurtles on in syncopated fashion, it’s melodic interludes saving the it from teetering into almost ponderous territory. The path is found once more on The Alliance Of Cold , giving way to title track, The Insidious Star, marking a slight departure from Istapp’s style in favour of more traditional black metal riffing. It soon shifts seamlessly into a fobbing chorus, assuming Istapp’s usual nature, heralding the oncoming ice age with dark zeal. Vita Doeden introduces traces of melo death riffing, notes dancing above the steady palm muting. The storm abates on closer Orrekulle, bringing our journey into eternal cold to an end.

Whilst not a huge leap from its predecessor, Frostbiten, The Insidious Star is nonetheless a worthy follow up. Combined with their unpretentious song structures and infectious melodies, “The Insidious Star” remains true to the core values of what makes Istapp such fun to listen to! The only real gripe is that of the production, where the thin sounding rhythm guitars are occasionally buried under an overly bass heavy kick drum. A minor gripe, as it does little do deter the icy storm that is “The Insidious Star”. DOWN WITH THE SUN! HAIL ISTAPP! 8/10

Solar Haze: S/T (Metal Assault Records) [Matt]

A bit of Californian stoner always goes down well here at MoM Towers and Solar Haze do exactly this, dual guitar wielding, fuzzy, hard rocking stoner riffs come from minute one as this band also bring a bit of snotty punk to tracks such as Hawk In The Wind along with the obligatory Clutch and Thin Lizzy vibes. Formed by brothers Ryan (drums) and Stephen (vocals/guitar) Falla Solar Haze are rounded out by Jason Hernandez (bass) and Patrick Morton (guitar) and bring a real groove to their tracks along with some raw vocals that will get you sparking up some blunts and cracking a beer as your heads bang to the abrasive Coven and the bluesy Nefarious Natures. Solar Haze probably gives you all you need to know about this band, stoner rock straight down the middle. 6/10

Sarcasm Syndrome: Thy Darkness (Self Released) [Matt]

Ok so hang on for this one Sarcasm Syndrome started as thrash/punk band in 1991, they then moved into the drum realms as the singer became the drummer however after a few singles and demos they split up in 1997. They reformed in 2017 with only one change in membership from the original line up and set about writing their debut record. Thy Darkness is that record, and it's really more an EP, at just 6 songsa and 30 minutes it gives you enough of what Sarcasm Syndrome are about and it's a pretty middle of the road journey of classic doom metal with some operatic, ghostly vocals from frontwoman Petra. Thy Darkness is an album that isn't particularly well produced and due to the airy vocals and the nature of doom metal, the songs all are very similar in style meaning you get to about track 4 without realising that it's actually changed song at all. The fourth song Through The Night isn't too bad due to the slight differentiation and Cthulhu Rising is chunky but overall Thy Darkness is at the lower end of the 'must listen' pile. 5/10

A View From The Back Of The Room: The Wildhearts

The Wildhearts, Massive Wagons & Towers Of London, Tramshed Cardiff

Apologies to Towers Of London (remember them?) as we arrived at The Tramshed to catch any of their set unfortunately, however we were in time to once again watch Lancaster rockers Massive Wagons (6), who have a really rabid following from the Planet Rock/Steelhouse crowd but still I can't see why. Yes they give a high energy performance on stage especially their frontman, but none of their songs really stick with me, they just sound like an amalgamation of their influences without any unique stamp, good musicians, good performers but I found myself bored after the third song. Still they and Towers Of London are the sort of in-your-face support acts you want for probably one of the most dangerous, take-no-shit rock acts ever to come out of the British rock scene.     

If you ever want to see joy, I mean pure unadulterated joy then go to a The Wildhearts (9) gig. For years now they have been playing to some of the most ferociously loyal fans in the rock world. The hardcore know every line of every song, singing each one back in unison to the band. They have been a little reclusive in Wales, as Ginger himself noted falling in and out of favour, however on the back of touring their first album in 10 years, (Renaissance Men to be reviewed), they once again returned to the Welsh capital. It was amazing to see even the new songs garnered a sing along despite the record only being out for four days (now that is a noisy holiday with that on repeat). From the opening chords of Dislocated the amassed punk, rocker, normy and greebo faithful at the front were bouncing and throwing their hands into the air with complete disregard that this was a Monday night and most would have to be in work tomorrow.

What was also noticeable from the first note is that this relationship between band and crowd is reciprocal as The Wildhearts hit the stage without any fanfare (except their intro track Don't Worry About Me), this is a band that have been carving out a living for so long, with a history that would make Motley Crue wince. However they have endured and proceeded to plough through one of the most energetic (and loud) sets of rock n roll I've seen in the Tramshed, there fuck-them-all attitude permeating from the front to the back creating a frenzy as they hit early with Vanilla Radio and the wild Suckerpunch. The crowd participation was relentless through Sick Of Drugs, Top Of The World and Caffeine Bomb, along with everything in between this was a masterclass of keeping the crowd eating out of your hand.

Ginger is a frontman who lives for the stage leading ably from the front with his rough as a badgers voice and guitar stabs aided by the tight as fuck remaining Wildhearts, CJ taking his position to the right of the frontman as the other founding member punching out riffs while Ritch (drums) and Danny (bass) powered a bottom end that made the ears buzz. The setlist was mixed between new album tracks, selected cuts from the discography and obviously some of the singles, it was masterclass in how to crank out a set of rock meets punk meets pop at ear splitting volume. Due to the brief nature of many of their songs they blitzed through their set playing something like 14 tracks int he main set culminating with Love You Till I Don't.

During the encore the audience began to sing the intro of Don't Worry About Me at the top of their voices until the band came back on. Then Ginger explained they were going to do something weird as they mimed to new song and next single Renaissance Men, this was because they were recording it for a new video, but it did feel odd for both the crowd and the band, still that's show-business. They made up for it of course though with the last few songs ending the night with My Baby Is A Headfuck and I Wanna Go Where The People Go for the nutters in the pit as they chanted in unison, though the lack of 29x The Pain did leave a few of the die-hards a little perturbed. Still if there was ever a band who played by their own rules it's The Wildhearts, one of the most entertaining live bands on the scene with the maddest audience for sure, a pure joy!   

Reviews: Eluveitie, Månegarm, Forever, Abrahma (Rich & Alex)

Eluveitie: Ategnatos (Nuclear Blast) [Rich]

Ategnatos is the eighth album by Swiss folk metallers Eluveitie and is one of the strongest albums by the band in years. Eluveitie have had some major upheavals in the past few years with no less than six members of the band being replaced. Whilst acoustic album Evocation II - Pantheon was the first album with this new line up Ategnatos is the first proper album by this line up and the band sound positively invigorated. Previous albums Helvetios and Origins whilst good did see the band sounding maybe too comfortable and going through the motions so it’s great to hear that the big dose of new blood into the band has meant that the band plays with an intensity and passion not heard since the Slania and Everything Remains As It Never Was albums. The big change in Eluveitie is the introduction of Fabienne Erni on co-vocals and harp. Her vocals have been brought to the forefront on Ategnatos and it’s clear to see why as she has an absolutely incredible voice which truly brings these songs to life.  Founding member Chrigel Glanzmann also puts in an admiral performance as always with his harsh vocals and whistle and mandola playing.

The style Eluveitie have become accustomed to has not changed with their mix of celtic folk music and Gothenburg style melodic death metal. Whilst the riffs are quite basic and formulaic (a negative factor on previous albums) the folk instruments and melodies really make this album and that’s where Eluveitie always have and continue to stand out as a band with their use of traditional folk instruments rather than keyboards. It adds a massive degree of authenticity to the band and also makes their live performances always well worth a watch. Ategnatos is a fine entry in the Eluveitie discography and possible the strongest album the band have done since Slania. Like many of the previous Eluveitie albums it is maybe a bit too long with a few too many songs meaning a chunk of the album is quite forgettable but where the album is at its strongest (such as with songs such as Ambiramus, Rebirth and the title track) it more than makes up for it. 8/10

Månegarm: Fornaldarsagor (Napalm Records) [Rich]

Månegarm have always been one of the underdogs in folk metal in my opinion which I have always felt is a shame as they are one of the better bands in the genre in my opinion with a style that takes all the different facets of the folk metal genre and combine them to make something absolutely glorious.  Fornaldarsagor which is the ninth album by the band is a testament to their abilities and is another strong album in the band's discography. Forming in Sweden back in 1995, Månegarm had a sound that combined folk metal with black metal aesthetics on their early albums before moving into a more upbeat rousing sound reminiscent of bands such as Ensiferum on later albums. With their previous self titled album in 2015 some of the black metal influences started creeping back into their sound and that has continued on Fornaldarsagor. The album is a mixing pot of all the tropes of folk metal being both rousing and relentless with some traditional folk metal instrumentation and big buoyant melodies underpinned by the aggressive black metal undertones.

This effective mix is most evident on opening track Sveablotet which immediately charges at you like an army on horseback hurtling into battle before the chorus kicks in and the fury is replaced by glory.  It’s an approach used well throughout the album though the band does mix it up such as dramatic mid paced Spjutbädden and the acoustic leaning Dödskvädet. Frontman Erik Grawsio puts in a fine performance employing a variation of vocals styles from black metal shrieks, death metal growls and impressive clean vocals. Fornaldarsagor is a fine folk metal album which whilst not adding anything new to the genre combines the best bits from the genre into one nice package. If you enjoy folk metal and have never heard Månegarm then Fornaldarsagor is a fine place to start. 8/10

Forever: Forever (Self Released) [Alex]

Forever belong in the always inoffensive genre of AOR. I call it inoffensive because while it lacks the harshness of metal, the rawness of punk, and the ambition of prog, it’s obsessively focussed on strong hooks, clean melodies, and smooth production. Ironically, for a genre that’s supposed to be ‘album orientated’, it’s more recognizable for its singles, than anything else. In fact, I would go so far as to say that we’ve all enjoyed an AOR song some point. Don’t believe me? More Than A Feeling, It’s My Life, Africa – they’re all examples of anthems that could be considered part of the genre. They’re the sort of songs a DJ can slap on at a nightclub and be certain of a positive reaction. For exactly that reason though, AOR albums don’t lend wonderfully to extensive analysis, as evidenced by the fact that I have thus far just focussed on the style, stalling talking about the actual content, of which there is very little of interest.

Anywhere You’ve Gone opens on a distinctive chorus, while the guitars take on that crunchy, yet clean effect, typically associated with soft rock acts. Call Out My Name and Rosebud pay homage to the ’80s, introducing synthesizers into the mix and adopting a dance-laden beat. Got Me and Train have just enough grit and attitude to perhaps make a nod towards harder influences, while still remaining very clean cut and accessible. Whatsmore, that’s very much how the album continues throughout its second half. Everything gives the impression of having some grit, personality, or meaning, without committing to those notions in a passionate or unique way. Don’t get me wrong, there’s nothing necessarily wrong with that. It’s living up to the expectations of a genre, which is itself, based on being generic and predictable. These musicians know how to play and write a hook, appealing to the baser instincts of those for whom music is purely about singing and dancing, and doing so well. We end on a mandatory power ballad, ensuring the self-titled record finishes on a grandiose and sentimental note.

While my thoughts on Forever are fairly lukewarm, I fail to see the relevance of them, in 2019. As I pointed out earlier, AOR is still enjoyed to some extent, yet only in a ‘classics’ context. I don’t see anybody pining for new music by Toto or Boston. Many might not even recognize the names of those bands. A little confession, until recently I thought that those letters stood for Adult Orientated Rock. However, upon researching the genre, it appears I’m not the only one to have made that mistake. Numerous bloggers and websites are using the words ‘adult-oriented’. Perhaps part of the reason for that is how much the existence of this genre relies on reminiscence. Modern music is preoccupied with very different trends. Although you can argue that an argumentum ad populem is unfair, the outdated nature makes Forever seem that little bit more stale and forgettable 4/10

Abrahma: In Time For The Last Rays Of Light (Small Stone Records) [Alex]

Abrahma hone an incredibly morose and blackened sound, which lies somewhere between the hypnotism of psychedelic metal and the unpredictability of prog. Now on their third album, one can only hope that they expand upon the darkness at their core, to create a more rich and vivacious sound. In Time For The Last Rays Of Light comprehends that you can utilize relatively simple construction, while still creating a towering, dramatic sound. While not at all slickly produced, it would almost be a shame if it was, as the deliberate use of distortion and unruly transitions, lend to the chaotic charm of the project. A thunderous, distortion-laden guitar riff brings Lost Forever to a gigantic start, the clean melodic lead parts, lending a bleakly beautiful contrast. After continuing on this lumbering note for an effective amount of time, sadness gives way to anger, the instruments growing evermore thick with reverberation and the vocals growing steadily strained. Staying formless yet salient, we continue down this mysterious and stern path. Lucidly Adrift wallows in being disquietingly frustrated and unpredictable, frenetically swapping between seconds of turmoil and bliss.

Although the resulting toll on the listener’s mental state may be one of confusion, it’s also one of seduction, as we find ourselves overcome by the incongruity on show. Eclipse Of The Sane Parts 1 and 2, are aptly titled, remaining formless yet foreboding, bearing a quality as sinister as the echoes which resound off the walls of an abandoned prison, or asylum. Last Epistle is arguably the most psychedelia influenced moment, the liquescent and dreamlike quality, forcing us to search our own imagination, as the song takes on multiple forms and shapes throughout its duration. Finishing on the elaborately titled There Bears The Fruit Of Deceit, we are shown out on a melancholic note, as volatile and erratic as every moment, the religious connotations in the lyrics rounding off the mysticism cultivated from start to finish. Brooding enough to satisfy a niche, and adequately hook laden, there lies an amiability within Abrahma which can appeal to folks across the broad spectrum of metal and hard rock. The rough and dim qualities may dissuade some – they took me back on first listen – yet they are easily to warm to, once you realise their effectiveness in melding a unique identity. 7/10

Reviews: Cormac Neeson, Strained Nerve, Sister Shotgun, Prysma (Matt & Paul H)

Cormac Neeson: White Feather (7Hz Productions) [Paul H]

For those who may not know, Corman Neeson is the frontman and vocalist of Northern Irish band The Answer. For over a decade, Neeson and his fellow band mates toured the world, released several excellent releases, supported AC/DC and The Rolling Stones, almost combusting into dust before regrouping for 2016’s superb Solas, an album that took some time to work its magic on me. Live, the band were able to pool classic rock fans with those who enjoy the heavier things in life, such was their charisma and power. Neeson is the beating heart of the band, a humble man whose sheer presence is captivating in the live arena. I have followed him on Facebook and watched with interest as White Feather has been brought together. Solas was born out of despair and adversity but also from hope. Neeson’s son had been born desperately premature, with life threatening complications and Downs Syndrome, and it was this life changing event that pushed him to move to something different, away from the more constricting routine rock ‘n’ roll. Having spent several weeks across a 15-month period in the USA, White Feather was recorded in Nashville in 2018 and completed in Belfast shortly afterwards.

It is no surprise to read that Neeson worked with some of Nashville’s finest musicians whilst in the States, such is its bluesy country feel. A blend of Celtic and Nashville styles, this is an emotional reflection of the journey Neeson has been travelling over the past five years. White Feather is cathartic without a doubt, but as much as this is Neeson baring his inner soul, the music still needs to work. Unsurprisingly it does, with his rich soulful vocals and the heart wrenching lyrics which describe how it is to bring up a child with a disability tugging at every raw emotion. A gentle combination of backing music plays the perfect supporting role. Country, blues, even gospel. From the bluesy rich warming Don’t Wait Up, the crackling sentiment of the title track and the tear inducing Broken Wing, with some of the most poignant lyrics I’ve ever heard combining with beautiful pedal steel, this is an autobiographical album of sheer beauty. Listen, feel, enjoy. 9/10

Strained Nerve: Volume Of Age (NonStopMusicRecords) [Matt]

If you're looking for information on Strained Nerve (the band) then I suggest learning German, as everything written about them seems to be Auf Deutsch. Now my German fluency is not as good as it used to be so I must admit I struggled a little, though not as much as I thought, (music is music innit?). It was a surprise to me then with all that press that this band are Swiss not German, not only that but they don’t sound like they come from either country musically. No Volume Of Age is a modern metal record that mixes the tremolo picking of death metal, (No Escape), with the more melodic styling of metalcore, (The River).

It’s all very heavy and aggressive, things move at a blistering pace, breaking down in places for chunky stomps and even some frenetic melo-death solos, think Soilwork and you’ll be in on the right path. It’s slick as you like, not a missed beat on the entire record but I did find my attention wandering a little as the lack of variation really sank in. If you’re buff then Strained Nerve are a great melodic death metal band but it’s all a bit to similar for me. 7/10

Sister Shotgun: Fragments (Pavement Music) [Matt]

I’m not a huge fan of the ‘female fronted’ genre tag, we’ve used it before when PR has dictated but I think bands are bands no matter who is playing what. That being said there does seem to be a style to these bands that is either symphonic metal, Within Temptation, Delain, Visions Of Atlantis etc or modern metal(core) ala Halestorm, New Years Day, In This Moment etc West Midlands based Sister Shotgun fall into the latter, fronted by the classically trained vocals of Chloe Ozwell Sister Shotgun are about as American as apple pie but from the birthplace of heavy metal. It’s not surprising then that they have made waves over in the States, being signed to a multi-album deal, the first of which is Fragments.

It’s what you’d expect from this style of band, defiant lyrics delivered with passion and power by Chloe as the band crank out melodic guitar hooks and muscular rhythms, tracks like From The Ashes, Miss Fortune and Scorn allow them to bring the heavy where as the ballad For The Love Of Hate and the radio friendly Silhouettes give them that inclusive sound that will set them up as one of the ones to watch in 2019. Produced by Wales own Romesh Dodangoda (Motorhead, Funeral for a Friend, BFMV and Bring Me the Horizon) at Longwave Studios, Sister Shotgun’s debut album looks set to get them into the conversation of ‘next big thing’ and if you value that tag and love the heavier yet melodic ‘female fronted’ style of metal then Sister Shotgun are a band to check out! 7/10

Prysma: Closer To Utopia (Self Released) [Matt]

Prysma (or Πrisma) are a progressive rock band from Thessaloniki in Greece and they have clearly drawn influence from the shoreline of the city on opening exploration Bad Time To Dream? Which floats lazily, with whispered vocals and ambient tones taking it through some jazz rhythms that will soothe the most volatile souls. Closer To Utopia is their debut album, featuring five tracks of 70’s progressive rock influenced music, with a shades of King Crimson, Van Der Graaf Generator and obviously that post Saucerful Of Secrets, pre-Dark Side experimental Floyd sound. The songs are pretty length but they paint audio and visual images with their music, making things much more complex than your average 4 minute rock song.

Prysma don’t do heavy either, so if you want lots of distortion then look elsewhere. This is the land of wah-wah, reverb, phase and loop pedals, except for one major part of the doomy Hypnotized. Although that’s not to say they can’t rock it as they do on Lost In The Sky and the Latin-flavoured Mundo Muerto, but they prefer to keep things spacey a little like bands such as Astra, Diagonal or The Gentle Knife, as the relaxed musical journey has some very dark lyrics. Prysma are Spyros Delidimitriou (vocals/guitar), Konstantinos (guitar/vocal/synth), Giannis Koutsos (bass/vocals) and drummer Tryfon Ghentis and this is a strong debut release of classic British prog rock from Northern Greece. 7/10

Reviews: Steel Prophet, Tanagra, Sunn O))), Remete (Matt, Paul H & Sean)

Steel Prophet: The God Machine (Rock Of Angels Records) [Matt]

Americans don’t do things by half, especially American bands. Their metal bands tend to be the most bombastic of the lot with a natural confidence, even arrogance, around them that they are the best around. The complete epitaph of this is Manowar who outright refuse to bow down to anybody else’s opinion, however it does tend to make their music a lot more interesting especially in the case of bands such as Steel Prophet. Having been around since the 1980’s they have doggedly waved the flag for what I would call American Heavy Metal along with Jag Panzer, Iced Earth and Queensryche. Led by guitarist Steve Kachinsky Blakmoor, they have gone through numerous lineup changes.

Most notably vocalist Rick Mythiasin parting the band after a 13 year relationship in 2002, but somehow have released eight records previously to this, there last studio album was Omniscient which once again featured Mythiasin in 2014 but since then his place has been taken by R.D. Liapakis of Mystic Prophecy and Devil’s Train. His husky delivery is ideal for Steel Prophet’s muscular, thrash tinged heavy metal, but also work on the rockier numbers like Dark Mask (Between Love & Hate) which sounds like an Ozzy song due to the guitar rundown. It’s got that natural American confidence to it all the songs swagger or gallop with pitch perfect instrumentation and crisp production. There’s no chance of Steel Prophet changing any time soon, a confident American metal album. 7/10

Tanagra: Meridiem (Self Released) [Matt]

Tanagra is a town and a municipality north of Athens in Boeotia, Greece, not far from Thebes, and it was noted in antiquity for the mass-produced, mold-cast and fired type of Greek terracotta figurines named after it. Tanagra the band though are from Portland Oregon and play progressive power metal, which will be familiar to fans of Shadow Gallery and Fates Warning. Meridiem is their second album and at 7 tracks and over an hour long, it’s got a lot of music continued within in it all played by the five members of the band who are Erich Ulmer (bass), Josh Kay and Steven Soderberg (guitars), Tom Socia (vocals) and Christopher Stewart (drums) along with a couple of guest providing the classical instrumentation.

They are all virtuoso musicians but as much as the compositions on this album are complex, they are also compelling never sticking to rigidly to any groove for too long and broadening the soundscape with theatricality and a cinematic sound that any good prog metal band incorporates to show you their prowess. The record opens with the mammoth title track which is an overture for the rest of the album having a kitchen sink approach that works, especially when you compare it to the more straightforward power metal of Sydria. I sought out the band’s debut on the back of this record and Meridiem is better in every sense, it has much bigger scope, there are more risks but they pay off. A masterful emotional progressive metal album and not a pot in sight! 8/10   

Sunn O))): Life Metal (Southern Lord Records) [Paul H]

The eighth album from experimental American drone outfit Sunn O))), Life Metal is something of a change of style to anything I would usually listen to. Apparently, the title is an inside joke within the band. Life Metal is reportedly more upbeat than recent works, with “brightness and symphonic quality” in comparison with other works. Four years since 2015’s Kannon, Life Metal is one heavy beast. Oh yes. Cataclysmic riffs that can crack continents drawn out over long minutes, additional effects adding something to the distortion and crushing sound. Four tracks, 69 minutes long. This isn’t an album for car journeys, public transport or sitting down to with a cuppa.

Joining Greg Anderson and Stephen O’Malley on this journey is frequent contributor Tos Nieuwenhuizen (Moog synth), vocalist Hidur Guönadöttir who also adds cello and haldorophone and the pipe organ of Anthony Patras. Between Sleipnir's Breaths opens the album, Guönadöttir’s haunting ethereal vocals rising above the wall of noise; Aurora, at 19 minutes long not even the lengthiest track on the album sounds like an oil tanker scraping the harbour wall, the glacial speed of the chords either phenomenal or utter bollocks I suppose, depending on your point of view. It’s certainly something that should be incredible live but 16 minutes into track three and that was enough for me. As the foundations on the house started to crack, my bowels emptied without prompting and the dog disappeared into a pile of fur, I managed to knock Life Metal off before my spleen exploded and my skull caved in. I have no benchmark to compare this album against and for that reason I can’t give it a score. N/A

Remete: Into Endless Night (Cold Ways) [Sean]

There are odd moments in life, small instances where one craves to be smothered under a wall of guitars and shrieks. To be crushed both physically, emotionally, all desires fulfilled and all urges satisfied. To be cast into sorrows abyss, arising again amongst hopes burning embers. Or some bollocks like that, your own evocations may vary. In contrast to its more brutish cousins, Atmospheric Black Metal’s comforting ethereality has lately been a larger of my metallic diet. Whilst my usual intake largely consists of blastbeats, Satan, caveman riffs and wonky sound death metal, it’s not exactly nourishing at times. Returning to my opening words, I replace fury for feeling whenever I yearn for true musical sustenance, sustenance that only Atmospheric BM can provide.

Which brings us to Australia’s Remete, founded and solely operated by D, also sole proprietor of Woods of Desolation. Released through Cold Ways (his own label), D/Remete is finally set to unleash his debut, fittingly titled Into Endless Night. Shall we? Coiled Within begins with completely solemnity, it’s sweeping chords falling under the ensuing eruption, as every other instrument explodes into existence. The sound is dense yet crisp, swathes of huge sounding guitars piercing both ear and soul. Driving it onwards is D’s raspy snarl, echoing out into dynamic space over the thunder of drums. Everything is polished just enough allowing each individual element to be heard, yet never straying too far from the the genre’s raw aesthetic. A great start, resulting in many if not all of my (remaining) hairs standing on end. Ephemerality continues in a similar fashion, blasting along with aplomb but never sacrificing melody or mood. Melodies soar and swirl across a shimmering soundscape, as vast swathes of guitars fleshing out an already rich sound. Stillness induces a near meditate state in me, bathing me in thick layers of chords, synths and distortion. I close my eyes for a few seconds, allowing me to be swept away by it’s rolling waves. Ah….pure bliss.

It closes on title track Into Endless Night, clocking in at a whopping 13 minutes. Okay I lied, 12 minute and 56 seconds to be exact but such is it’s gloomy grace, it flies by in no time at all. Cold melodies ebb and flow, adding yet even more layers to the already gigantic aura being conjured. It may not differ too much form the preceding tracks but offers enough subtle variety, finishing as the album began and in suitable fashion. Now the hard part, accurately transcribing WHY I liked Into Eternal Night. It’s considerably harder to convey just how much joy I felt, despite the introspective and depressive elements the genre is known for. In it’s forlorn frailty, I found familiarity and comfort. Instead of sorrow, I felt a sense serenity, of relaxation and transcendental calm. I didn’t need to think but just…..feel, and Into Eternal Night is most certainly full of feeling. Sure, this isn’t the most varied of records but it doesn’t need to be, not when it’s core strengths are as captivating as they are. Remete and main-man D have succeeded in crafting a strong album that haunts and soothes in equal measure, as harrowing as it is wholesome and all the more enjoyable for it. Want more? Food for the spirit, so tuck in! 8/10