Reviews: Kyle Shutt, Hands Off Gretel, Twisted Tower Dire, Cities Of Mars (Matt, Alex, Manus & Rich)

Kyle Shutt: S/T (Self Released) [Matt]

Kyle Shutt will probably be best known as the guitarist of Texan retro riffers The Sword, or to some of you have read this blog for awhile as one quarter of the Doom Side Of The Moon project where he bends Floyd into Sabbath riffs. Well this debut solo album he once again changes up his style mixing some Ramones-like punk on the Big City, a bit of fuzzy garage rock on Too Much Time Too Much Money, some electronic thumping on Set You All On Fire. Much of this album is rock n roll, with a chunk of Clutch on tracks such as Stronger Than Earth except for Awake which is probably the doomist track Shutt has ever been involved with, sounding a similar to Iron Man with the vocoder on the vocals. I know what you're thinking is, so it's a flight of fancy? A musician who got bored, grabbed a load of session guys and wrote an album? Well you'd be wrong in that respect as much of this album is pitched at the same style that The Sword were experimenting with on their most recent output and as far as the line up is concerned everything you hear is Shutt; guitar, vocals, bass, drums, synths, production the whole thing is a solo album in the truest sense and one that shows another side to this riff machine. 7/10

Hands Off Gretel: I Want The World (Puke Pop Records) [Alex]

Packing lots of attitude, Hands off Gretel play a genre that, for the purposes of this review, I am referring to as Bubble-gum Punk. It differs from Pop Punk in that while there is a focus on being catchy, there is still a lot of roughness left intact. I Want The World wears a sinister smirk. Finely polished in some moments and incredibly course in others, these anthems serve as proof that approachability and rawness need not be entirely detached. Combine that with strong feminist and outsider themes, and you’ve got an album which lives up to the assertiveness in the title.

A crunchy, defiance laden riff opens Kiss Me, Girl - without a doubt one of the most commanding songs on the album, with the way it stomps towards a euphoric chorus and a glorious finale. S.A.S.S, despite being mid-tempo bears tons of clout, the difference between the strut of the verses and the stamp of the chorus proving exciting. Everything’s subtly dark yet obsessively exhilarated. Lauren Tate, the chief vocalist, and guitarist packs tonnes of personality into her performances, while Hobbins and Baldwin keep down distinctive and forceful rhythms. Even when the songwriting verges on sentimental balladry, as on the sneeringly sarcastic it’s My Fault or the empowering Freaks Like Us, it never loses its cutely rebellious charm. I for one prefer when the tone becomes scruffier, exemplifying elements of Grunge or Riot Grrrl.

Milk begins on a throttling scream and braggadocious guitar furrows, keeping that ferociousness intact, before ending on a condemnation of sexual exploitation: "you’re just a body there’s nothing left". Despite being shorter and more reserved, the cheekily menacing nature of Fingers makes it seem that little bit more exciting upon exploding into life. Finishing on Rot (All The Good Things), the irony at the core of the act becomes clear. I know that the cute on the surface, vicious underneath theme has become tired out, yet rarely is it performed in a way which feels empowering or witty. By being forceful in their performances and taking a lyrical approach which is humorous and meaningful, Hands off Gretel not only seem genuine but impassioned in their resolve to adopt an adoring surface level appearance, while screaming defiance to their detractors,

While you may not have heard of these Yorkshire born alt-rockers, definitely check them out if you are into that style of rock, which is insanely catchy while bearing a lot of substance. There are distinct nods to No Doubt, Nirvana and Bikini Kill. Your satisfaction will vary depending on whether you prefer the leans into pop or punk. Personally, I would like to have seen a touch more of that fast, raucous and chaotic attitude, which is where this second full-length excels. Still, they thrive in finding that balance, creating a sweet yet explosive mixture 7/10

Twisted Tower Dire: Wars In The Unknown (No Remorse Records) [Manus]

Power metal kills when it’s done right. It doesn’t have to break musical ground, or go off in unprecedented directions or fuse elements of 12 different genres to be interesting. Straight up power metal may be formulaic, but there’s no need to change a formula that’s worked for decades.
Twisted Tower Dire’s sixth outing is a fine example of a power metal band being a power metal band. The vocals could be better, sitting mostly at midrange and sounding a little bland, but there’s more than enough in the instrumentation to make up for that. Aside from the nad-squeezing screeches, there’s everything you’d want from power metal in these songs. Galloping drums, ripping guitar solos and huge sing-along choruses are all plentiful. Power metal never has to change. 7/10

Cities Of Mars: The Horologist (Ripple Music) [Rich]

The Horologist is the second album from Swedish progressive doom metallers Cities Of Mars. There’s a mix of styles and sounds throughout The Horologist with the bands core doom and stoner metal sound mixed with influences from progressive rock, post-rock, psychedelic rock and space rock. The songs are all nicely varied throughout and play around with the aforementioned influences from the sludgy riffage of Trenches Of Bah-Belon to the psychedelic soundscape of opener Necronograph to the crushing atmosphere of The Last Electric Dream. The two things that let the album down for me.

The vocals which are handled by all three members of the band are very weak and the band should definitely think of finding a full time competent vocalist as the vocals by the band are very lacking and generally I just didn’t find this album altogether interesting. I imagine these songs would work tremendously well in a live setting but on the recorded medium they generally failed to grab me. The Last Electric Dream was the only song that really stood out for me and was the definite highlight of the album.The Horologist has bags of potential but on the whole this potential fails to be realised. If you are a massive fan of proggy psychedelic doom then you will probably enjoy this but sadly this album did little for me. 5/10

A View From The Back Of The Room: Fury/Dakesis (Live Review Paul H)

Fury/Dakesis Co-Headliner Set, The Gryphon, Bristol

A Friday night trip across the bridge saw the Ed and me head to Bristol’s smallest venue for a night of power metal and a few bits of something a little different. Initially a headline set by Birmingham’s Dakesis, they co-opted mates Fury along for the ride and the cheeky bastards took the headline slot on the toss of a coin. This was an evening which demonstrated once more that underground music really does need supporting.

Bang on time, it was openers Titan Monarchy (6) who started the evening off with a spirited if raw 30 minutes. The trio had travelled from Truro to open the evening, and despite a traumatic arrival due to traffic the young outfit took the bull by the horns. With their set consisting of a mixture of covers and original material, Titan Monarchy kicked off their set with a cover of Zombie by The Cranberries and immediately it was apparent that these guys would benefit from a singer and possibly an additional guitarist to add some beef to their sound. Some of their original material demonstrated potential with When Your Ego Dies impressive. Less so their cover of SOAD’s Aerials, a challenging song at the best of times and again highlighting the slight weakness in the vocals. However, the band kept to their task and were rewarded with a decent round of applause. Titan Monarchy is Isaac Gilliam-Lindon, Ioan Wooldridge and guitarist Owen Isaac; they certainly have the potential to progress. These guys are playing the Dragonffli in Pontypool in late June supporting Scarsun and are worth checking out if you are in the area.

That probably wouldn’t be my recommendation for Pallas Athena (4) whose imagery and introduction may well have been hampered by the size of the venue. Nevertheless, the Manchester three-piece who are into the semi-final of the Manchester M2TM competition should have been able to adapt and are certainly one of the more bizarre acts I’ve seen for some time. Using masses of backing tracks including full programmed drumming, the operatic vocals of Vickie Harley seemed totally at odds with the middling guitar work of James Horn and bassist Alex Jordan. With an image of black cloaks and candelabras, this was a challenging band to review. Challenging because the music was disappointingly average, the soaring vocals didn’t work and the progressive symphonic banner which the band ride under rarely applying. Their reliance on their backing music, vocals and programmed drumming rankled perhaps more than it should have, but a real drummer would at least give them some more gravitas. It’s sad to say but we didn’t last all the band’s set, opting for some fresh air instead.

It’s been some time since I saw Dakesis (9) but that is something that won’t happen again. The Birmingham four-piece have an arsenal of superb songs and are seasoned musicians. Despite the low-key nature of the gig, with much humour and relaxed banter between the band, members of Fury and their loyal supporters, this was still a thoroughly professional performance. Tracks from 2016’s The New Dawn and 2011’s Trial By Fire included the Manowar style epic On Wings Of Steel and of course, the closing epic By The Fading Light were brilliantly delivered with Gemma Lawler’s stunning voice crystal clear. The lead guitar work of Matt Jones slicing through whilst bassist Amie Chatterley and drummer Adam Harris anchored the whole show. Visually the band are great, with Lawler’s bright blue hair contrasting with the shocking red of Chatterley’s flowing locks. Despite the lack of room, the band took this gig as if they were headlining the O2 Academy. Full of confidence and sharp throughout, their forthcoming album should be a real treat.

Only one way for Fury (9) to match Dakesis and that was with a show of similar power and strength. Luckily the Worcester band has both in spades and played a storming 50-minute set that reminded us once again what a talented band they are. With the line-up settled after a turbulent period, there was no resting as Lost In Space kicked things off. Julian Jenkins is an amiable, instantly likeable frontman who also possesses one of the best voices in UK metal today. Soulful and powerful, Lost In Space is the ideal opener and allowed the band to get into their stride quickly. Becky Baldwin is no stranger to readers of these pages, and with her signature bass lines thumping away, the former Triaxis bassist demonstrated once again what a fine player she is. Alongside Jenkins, new guitarist Jake Elwell didn’t put a note wrong, whilst drummer Tom Fenn nailed everything. He’s one hell of a drummer. Tracks from The Lightning Dream and Lost In Space raced by, the intricate songs knitting together comfortably, with Fury showing no signs of rust. Closing with the traditional Drunken Sailor there was still time to cram in Star Trippin’ before closing an enjoyable evening which demonstrated some of the best in the UK metal scene. With the promise of new material from both bands later this year, it hopefully won’t be as long before we see Fury and Dakesis once more.

Reviews: The Wildhearts, Bad Religion, Origin, Slomatics (Alex, Rich & Paul H)

The Wildhearts: Renaissance Men (Graphite Records) [Alex]

Well, this was a pleasant surprise. Make no mistake, I love the Wildhearts. Albums like The Wildhearts Must Be Destroyed and P.H.U.Q are required listening for any fan of hard rock or punk. Yet for all my efforts to keep up to date with new releases and be an albums enthusiast, occasionally there is one great record which I don’t hear about until the weekend of its release. Such is the case with Renaissance Men. Given how straightforward the band themselves like to be in their riffs, melodies, and lyrics, it feels right that I should take a similar approach to this review. Consequently, I can say without any pretensions or hyperbole that this is a fantastic comeback. All the energy, vigor and dynamism of classic Wildhearts is present. From start to finish, Ginger, and co. don’t waste a second in letting you know that they are ‘back in your face again’ and prepared to ‘rock you like a boomerang’.

Dislocated kicks the record into gear with a crunchy riff, the contrast between the screaming verses and the catchiness of the chorus, making clear from the outset that they have lost none of their original knack for maintaining a contrast between aggression and approachability. ‘Let em go’ Let em go, let the shit-filled rivers flow, while your belly burns in anger, no one ever needs to know’ runs the infectious chorus to Let em’ go – you will almost certainly need to suppress the urge to sing these lines in public. Renaissance Men is a funk laden number complete with memorable melodies and chants of ‘Arriba!’ Fine Art Of Deception has a similar proclivity for excitement, and again demonstrates a fondness for silly yet fun lyricism. Not that it’s all immature. The centrepiece of the album is Diagnosis, an insanely memorable yet empowering tune, dedicated to those suffering from mental illness: ‘You are not your diagnosis, you’re not that prescription in your hand, you’re not an animal, you are a human being’. My Kinda Movie sees a return to a more light-hearted tone, the throttling guitar part and punching tone, seizing the listener’s attention.

Although one of the most melodic pieces on the entire album, Little Flower is equally as commanding and enthralling as everything else here, and even if it is a bit too short and sugary for some listeners, the fast-paced and ferocious Emergency more than makes up for that. Aside from being one of the most frenetic songs here, My Side Of The Bed takes the opportunity to mock racism and homophobia, reminding us that ‘respect is all you need to know’. We finish on Pilo Erection, which despite its rather blue title, has a message of friendship and camaraderie at the heart of its stomping beat and soaring phrases. For The Wildhearts first album in ten years, this is an excellent record, bursting with vivacity. Perhaps the only thing which saddens me is how overlooked this band have always been and will continue to be. Still, to a small yet dedicated following, there is no band as beguiling and robust. I for one can say I’m proud to be a fan. Whatever lies ahead for them, I’m sure it will be remarkable. Arriba! 9/10

Bad Religion: Age Of Unreason (Epitaph Records) [Alex]

Bad Religion does not care for nationalistic fantasy or false promises. If their 40 or so years in Punk rock has earned them anything, it’s a reputation as a principled yet sharp bastion of their genre. Whether they’re critiquing religion itself as on The Process Of Belief or taking on Western politics and imperialism with The Empire Strikes First, they always do so in a brutally honest yet witty fashion. I hardly need to explain context when it comes to Age Of Unreason, The name alone is a condemnation of an age overrun with anti-intellectual posturing from demagogues. In keeping with his trademark irony and sarcasm, which they always pack into their songs, Gregg Graffin promised us records worth of ‘F**k Trump’ anthems. In a sense that’s exactly what we got, yet there is so much more to this 14th studio outing than sloganeering. Although these songs are short in length, they amount to a condemnation of romanticized patriotism, and candy cane fantasies about the ‘country we should be’. Inspiring and foreboding in equal measure, there is a harsh yet truthful quality pervading throughout this piece. ‘Sometimes there’s no sane reason, for optimism!’ runs the bridge on My Sanity, to a powerful melody, made more spirited by pummelling guitars and a strong rhythm. Chaos from Within also takes this approach, the moniker ‘oozin’ ahh’s’ as they call them, adding a rousing quality.

Do the Paranoid Style, has a dancehall swing vibe, imitating American culture while condemning its obsession with scapegoats and foreign enemies. Faces Of Grief and Old Regime are the two straightforward, quintessential and fast-paced punk tracks here, bearing echoes of early works, Suffer and Against The Grain. Even, Since When? With its call and response, sarcasm is delightfully acerbic. Strongest in this albums arsenal of catchy yet potent albums is End of History. ‘I don’t believe in golden ages or Presidents that put kids in cages’ Graffin chants here, making clear the subject of his ire before turning attention on the listener: ‘In the last days of December, how do you want to be remembered? For generosity or fucking monstrosity?’ Contrary to the rigorous speed which the genre demands, Bad Religion have always been an act who can succeed in making mid-tempo rhythms seem assertive. Lose Your Head is one of the most thoughtful songs here, the opening quip of ‘I ain't superstitious but hey, do you know a good exorcist?’, proving a particular favourite, even if I spent way too long attempting to decipher its significance. Candidate is a sardonic analysis of Mr. Trump but also a parody of celebrity politicians in general.

Moreover, Big Black Dog is a riff-based rager of a protest song, again showing a knack for clever wordplay and subtly masked political innuendo, sporting the line ‘They deal in art, the Art of the Deal, they sing Sieg Heils in the ails of High Heels’. As far as folk influences are concerned, both The Approach and Downfall, while punk in spirit, are melodically bright and striking. We end on What Tomorrow Brings. Interestingly, this final send-off can be interpreted as positive or negative. All depends on your attitude. To summarise, is Age Of Unreason among one the greatest punk albums of all time? Well, no, but no one was expecting another classic. In a sense, this is very quintessential Bad Religion. Although fans have grown accustomed to this sound, another aspect which hasn’t changed is the quality of the Songwriting. Lyrics are scathing as ever and there’s a precise bite to the musicianship which only they manage to capture. While far from over optimistic, the record is hopeful. In today’s political climate, that’s all some of us need. 8/10

Origin: Abiogenesis - A Coming Into Existence (Agonia Records) [Rich]

Origin have been at the forefront of extreme metal for over 20 years with their brand of brutal and technical death metal. With Abiogenesis: A Coming Into Existence the band take a look to the past as the album is made up of songs originally written and recorded back in the 1990's by founding member Paul Ryan prior to the formation of the band. The material is slightly less refined than what was to come but the core essence of Origin is very much there. These songs are teeth shatteringly brutal whilst the mind bending technicality which Origin is very much known for is very prevalent. It’s surprising that none of these songs made it onto the subsequent Origin releases as they are as strong as anything on the debut album. 

Insanity opens the album and sounds like a mission statement for the band, Infestation has some bruising hardcore undertones and Autopsied Alive relishes in its carnage. The one thing on this release that is very unrefined are the vocals by Paul Ryan which rely on screams and shrieks rather than the guttural growls of later material. As a bonus included at the end of the album is a remastered version of the bands long out of print debut EP A Coming Into Existence which has the band working as a full unit. Whilst again rawer and more unrefined this is another stepping stone in the advancement of the band to what we have today. Abiogenesis: A Coming Into Existence is an interesting look into the formative days of Origin showing that Paul Ryan's vision of the band has been there from day one. Whilst fairly enjoyable this is only one for fans of the band rather than the casual listener. 7/10

Slomatics: Canyon (Black Bow Records) [Paul H]

Beware. Canyons is one heavy, mind crushing beast of an album. The Belfast trio are something of a big hitter in the doom sludge department, having been around since 2004; they have several split EPs as well as four albums under their belt, with their last release being the split EP with those Mammoth Weed Wizard Bastards, Totems in 2018. Canyons opens in the way of all true sludge monsters with Gears Of Despair, just shy of 10 minutes in length and crushing in that way which causes you to catch your breath despite the knowledge that you are perfectly safe. The album continues with more of the same, Cosmic Guilt full of brain pulverising riffs, roaring vocals and thunderous drumming. Slomatics have the additional edge of a quite evil cloud of despair which hangs over their music, intentionally or not I’m unsure but it makes the listening uncomfortable, albeit in a good way. 

Reach Beyond The Canopy with your organs intact and you’re probably doing well, the slow, mammoth sounded fuzzed-up reverb certainly creating a rumbling in the bowels; plaster on the walls cascading down in huge chunks before cessation to hostilities as a lone guitar picks its way out of the gloom; the respite short lived as Slomatics pick up the intensity with a roaring conclusion. It’s hard to articulate just how heavy this album is, but if you were to write a soundtrack to a herd of Brachiosaurs as they headed across the Jurassic plains in their last hours then this would surely be a contender. With a range of percussion, vintage amps and analogue synths in their arsenal, Slomatics add more than just the distortion. The band play Cardiff’s The Moon Club on 18th May with a stellar supporting cast. A gig which I believe is free so if you like what you hear and you aren’t lapping up the second Bloodstock M2TM semi-final in Fuel, this will be a very promising gig. This is epic stuff. 8/10

Bloodstock Metal To The Masses South Wales Semi-Final 2 Preview

Bloodstock Metal To The Masses South Wales Semi-Final 2 Preview

Let’s get down and dirty once again and have a look at the second Semi-Final at Fuel Rock Club

Semi-Final 2 – Fuel Rock Club, Saturday 18th May 18:30

Heat 1 exploded from the opening bars as Cardiff’s Blind Divide decided to grab the competition by the scruff of the neck and throw it into next week. Their opening set on the night remains possibly the most intense set of the entire competition. Far from being deflated by 2018’s final defeat, James, James, Adam, Declan and Anthony regrouped, drafted in some new material and punched harder and faster. ‘I’ve rarely seen the room at Fuel so engaged. A massive set from an outrageously impressive band’ I commented after they stormed to victory. They band are solid, tight and aggressive. With massive support, these boys will take some stopping to get to the final.

Winning Heat 4, another finalist from 2018, Incursion. Another band that regrouped, learnt and re-emerged stronger, Jonny, Adam and Robby were in no mood to fuck about despite the volume of birthday sherry that Jonny had taken on board during the evening. Injections of humour always go down well if delivered appropriately, and the ridiculous sight of that poor punter with a packet of Hob Nobs down his trousers whilst being battered by the pit monsters was hilarious. Incursion will bring their brutal industrial thrash ready for combat, and another band whose mass ranks of support may well help to propel them forward again.

The final wild card slot saw Beyond Sorrow ease out pre-heat favourites Excursia thanks to a highly energised show which ripped a hole through the ceiling. The RCT metalcore experts are led by John Christo, his domination of the stage demanding attention. Yet another band who brought a shedload of fans with them, they were slightly disjointed in their heat and will need to find another gear to get to the final against such seasoned competition, but their Hyperion EP proves that they have the material to do it. If they unleash The Beast Within, then don’t rule them out.

They say quality always shines through and despite the dreaded early slot which attracted only the hardcore, Pembrokeshire’s In Which It Burns took heat six comfortably. Having travelled the furthest in the competition, there is no way these guys are going to go home without giving it their all and their ferocious thrash onslaught will provide the judges with a huge challenge. If Stretch, Mikey, Steve and Vinny can level Fuel with their vile, anti-establishment metal once more, tracks like The Creed and the legendary 6341 should win over neutrals, and I’d be unsurprised to be watching them there again on 8th June.

For me, the band that on paper face the hardest task to get through is Levitas. Perhaps surprisingly, they took their heat with some ease, but I wonder if their atmospheric progressive post black metal sound will work quite so well amongst the face melting sounds of the other bands. Having said that, that may work exactly in their favour, throwing something different into the ring. With their excellent new EP Charnel Sky so fresh it still needs feeding daily, they could once again be the dark horses that slip through on the rails.  In Rhys, Liam, Helen and Sam they have four stunningly good musicians and their music is intoxicating.

Whatever happens, these two semi-finals promise to be astonishingly close. Two nights of superb music, tension and drama and all for £5. Get there early, grab a beer, enjoy and give these ten excellent bands your full support. See you at the bar!

Reviews: D-A-D, Monasterium, Doomicidal, Scythian Fate (Matt & Manus)

D-A-D: A Prayer For The Loud (AFM Records) [Matt]

Well this is a blast from the past! When you've been so involved in music for a long time (going on 15 years) so many bands come into your peripheral vision but go away just as quickly, Danish rockers that used to be called Disneyland After Dark (but changed their name after The Mouse threatened to sue) have been one of those bands. I've never found the time to invest into their back catalog since the band having been around since the 1980's  in that time they have managed to release 11 albums, their previous offering DIC·NII·LAN·DAFT·ERD·ARK coming in 2011. So after 8 years they have returned to the front with A Prayer For The Loud a record that is full of blues-drenched hard rock anthems with touches of sleaze thrown in for good measure.

Founder member Jesper Binzer's vocals are filthy enough for rock n rollers like the swaggering Nothing Ever Changes, has enough authenticity for natural blues tracks such as The Sky Is Made Of Blues but also he has the grit for ballads such as A Drug For The Heart with both styles played by a band who are shit hot. According to the band they have "trimmed the fat" so to speak distilling their sound into what is the essence of D-A-D's sound and that is a band who are both retro and modern at the same time as they blast out of the speakers guitars blazing with a boiler room stoking the flames like Bon-fronted Acca Dacca, without the indulgent solos, although there are some tasty ones like on No Doubt About It. A Prayer Fo The Loud needs to be played at 11, it's a properly good rock record that makes me think I should invest some time in these Danes discography. 8/10     

Monasterium: Church Of Bones (Nine Records) [Matt]

Monasterium are an epic doom metal band from Poland and like their forebears in Candlemass, Monasterium bring heavy low tuned trooping riffs that are pure old school doom, pulsating basslines and distorted riffs are driven by a propulsive drum beats, with wailing vocals bellowing tales of horror, history, mythology. The some of the members are also a part of mysterious doom crew Evangelist along with Sadman Institute this fourpiece are excellent musicians, with some sprawling melodic solos breaking up the downbeat riffage, after two heavier numbers at the beginning of the album Lia Loagaeth is more gothic ballad, but it's not long before those doom metal riffs come back. I'll have to note here that no matter how good a band are musically, the songwriting has to be there and this is a little by-the-numbers if I'm honest, the longer numbers go on a bit too long making it a little mediocre, especially for a second album where improvement has to be noticable, still if you are major doom lover then try Church Of Bones. 6/10 

Doomicidal: Shadow Of The Gallows (Independent) [Manus]

Anyone have a buddy who’s always insisting between bong rips that his upcoming self-recorded doom EP is the heaviest thing you’ll ever hear? Well, Doomicidal’s debut album is a step or two above that. There’s potential in the band, for sure. This album shows a group of musicians capable of good chemistry, smooth playing and proficient writing, but it’s all a little dampened by an amateur feel and fairly weak vocals. Aside from those couple points, there’s enough here to make the record enjoyable, as long as it’s not taken too seriously. Rats In The Wall boasts some catchy riffs and a cool guitar solo, and War Crimes and Bride Of Baphomet get to the point at under four minutes in length each. Contrasting is the 10-minute long Hangman which seems to trudge on forever. This isn’t the strongest debut, but at least it sounds like a band that can get better with time. 6/10

Scythian Fate: Matrimony In Madness (Independent) [Manus]

It’s admittedly a little odd when the ethereal buildup of intro Borisov 1812 gives way to Crimson Snow, which sounds like a character from The Muppets singing over a drum machine and a guitar being played in the other room. Low-budget amateur albums can work when they capture a rawness, but in order for that, the band needs to authentically possess that rawness. Sadly, Scythian Fate does not. What’s worse, is the guitar is pretty good when the vocals aren’t there to distract listeners from it. A serious lack of bass doesn’t help either, and the programmed drums are a hindrance as well. This sounds like a demo—not an EP and definitely not an album. If these two guitarists can find a bassist and drummer, and get a decent singer, they’d be able to make a good record. This one just doesn’t cut it. 5/10

Reviews: Tanith, Advent Sorrow, Blazon Stone, Ketzer (Matt, Paul H, Rich & Manus)

Tanith: In Another Time (Metal Blade Records) [Matt]

Well this is about as retro as it comes, harking back to the late 70's just as what we now call 'heavy metal' was starting to emerge, it was bands such as Blue Oyster Cult, Wishbone Ash and of course Thin Lizzy that brought the dual lead guitars, throbbing bass and gallops galore. It was this style that led into the emerging NWOBHM and thrash scenes on both coasts. New York/Newcastle band Tanith sound like they are keeping this traditional alive, if their debut album's title wasn't a clue then decidedly vintage sounding music contained herein. Formed by Russ Tippins (guitar/vocals)) and Cindy Maynard (bass/vocals) with Charles Newton on guitar and drummer Keith Robinson, it opens with Citadel the first part of the Galantia duo of songs, the third of which is Wing Of The Owl (part 2 is nowhere to be seen). Citadel has a canter of early heavy metal, while Wing Of The Owl is a more melodic number sounding a little like Wishbone Ash.

Throughout both guitars work in glorious unison, which can be also said about the vocals of Tippins and Maynard who both take the mic adding their unique phrasing to the songs, riffing off one another for one of the most distinctive vocals in this style. There is a lot of traditional metal riffage here but nothing as heavy as Tippin's main band Satan, it's a little lighter in style with a smidgen of psychedelia, especially on Dionysus which is a fitting track dedicated to everyone's favourite God of wine and partying. If that authentic 'proto-metal' sound is what you crave then Tanith have it in droves. Before they turned into an 80's pop band this is what Ghost could have been, all rumbling basslines, guitar duels and anthemic songs. I urge you to pick up In Another Time as soon as it's out, if you, like Jethro Tull said are living in the past! 8/10

Advent Sorrow: Kali Yuga Crown (Werewolf Records) [Paul H]

Piercing sorrowful torturous screams dominate the title track of this sophomore release from Australian black metal band Advent Sorrow. The shrieking vocals that are reminiscent of nails down a blackboard. This is the marmite (or is that vegemite?) test and it’s a challenge. Aside from Rhys King’s despairing cries, Advent Sorrow play hauntingly atmospheric black metal which at times is thrilling and at other times a little pedestrian. Kali Yuga Crown is an intense combination, King’s vocals somewhat disturbing. Pestilence Shall Come provides some ferocious drumming which isn’t always present. The standard tremolo riffing combined with the synths adds depth to the songs although they are limited in variety.

Things improve with Caesar albeit King changing style to mimic Maurizio Iacono. Wells Of Poison Water increases the interest and Majesty Enshrined is explosive with blast beats and frantic riffs which have been absent for much of the previous thirty or so minutes. For a band now edging towards the start of its second decade together, this may be a little bit of a disappointment, with the hype around their forthcoming UK appearances suggested more. Having said that, I’ve got my ticket to see the band at Fuel in Cardiff a couple of days after their appearance at Incineration Fest so hopefully their live show will be a little more impressive. 7/10

Blazon Stone: Hymns Of Triumph And Death (Stormspell Records) [Rich]

I’ll be honest. I didn’t expect much going into this album. With a name like Blazon Stone it’s clear that the band are inspired by Running Wild and I was expecting a half arsed Running Wild ripoff and whilst this band do sound very much like the aforementioned band they do it absolutely phenomenally. Hymns Of Triumph And Death is the fifth album by the Swedish heavy metallers which is impressive considering the band sound like a Running Wild tribute band who write original songs. What’s more impressive is that on their fifth album of Running WIld worship they sound absolutely belting doing Running Wild’s pirate themed style of power metal better than Running WIld do it these days. This is a pure fist bumping headbangathon of an album with power and glory mixed with speed and aggression. 

This is one fast paced album with songs such as Heart Of Stone, Dance Of The Dead and Cheating The Reaper racing along like there’s no tomorrow whilst songs such as Iron Fist Of Rock and Ride High bring the pace down being more in a joyous fist pumping heavy metal style. Singer Erik Forsberg impresses with a style that sounds like a cross between Rock ‘n’ Rolf and Udo Dirkschneider whilst the rest of the band absolutely fire on all cylinders. Blazon Stone have impressed me incredibly with Hymns Of Triumph And Death and I feel bad for judging them initially as I enjoyed this album so damn much. 

 It’s always a good sign when you can’t keep your hands or feet still during an album and that was very much the case during Hymns Of Triumph And Death. Despite completely lacking in originality this album is an absolute belter, is so much fun and I can’t praise it enough. Now excuse me whilst I go and listen to it again..and again. 9/10

Ketzer: Cloud Collider (Metal Blade Records) [Manus]

The latest offering from Germany’s blackened thrashers Ketzer is about as in-your-face and vile as black metal can get. The rawness remains intact despite the record’s clean production, which actually serves a purpose, highlighting the intricacies of the musicianship displayed here. After an ominous intro in The Machine, opening song Keine Angst takes only seconds to establish a frantic momentum that the subsequent tracks just keep building on.

Packed within the brutality of this record are bursts of melody in guitar-led passages. Without taking away from any heaviness, the cleaner bits add some depth to the tightly played tunes. It’s hard to pick highlights on this album, because all the songs rip so hard, but single No Stories Left packs a mean punch and gives a pretty good feel of what the album holds. 9/10

Reviews: Adrian Belew, Maraton, Daniel Tompkins, The Mountain Goats (Alex)

Adrian Belew: Pop Sided (Self Released)

Adrian Belew remains drastically overlooked, despite performing with some of the most revered musicians in history. From Frank Zappa to Bowie to Talking Heads, to King Crimson, reading his biography is akin to looking at a list of famous people he has caught the imagination of, with his quirky yet virtuosic style of playing. His solo work has definitely emphasized experimentalism, yet has also fused a distinct knack for melody and Beatles-esque harmonies into the rich tapestry of his discography. Pop Sided emphasizes the Songwriting centered aspect of his musical personality while remaining unique. Performed entirely by Belew, the album has an intimate and youthful feel, which proves comforting. Whatsmore, despite its relatively short runtime, it packs a lot of detail and influence into the 30 or so minutes it utilizes to impress. When Is It Coming Back? is a pleasant folk-influenced acoustic ballad, the timbre emitting a warm, heartening feeling, the relatively simple compositions easing the listener into the album. For those longing for Belew's more experimental side though, fear not - Obsession is a bizarrely complex piece, where the harsh distortions appear to mirror the abrasive synth beats of pop, thus staying on theme, yet very much twisting the genre in unexpected directions. Everybody Sitting demonstrates a bizarre lyrical palate of criticisms of modern society, the psychedelic touches adding a layer of trickery to the otherwise humbly composed anthem.

On an utterly different note, Lobsters And Hypocrites is a spoken word piece, accompanied by spontaneous instrumentals, evoking an overarching sense of being lost in a different world. Our tour guide through this realm of strange ambiances and sensations is more than willing to pay respects to his muses. The Times We Live In is reminiscent of the 60’s style of pop song-crafting, the sprightly tempo, jaunty touches of piano, and huge chorus lending well to the influences our frontman cites in crafting his understanding of pop. "I don’t fit in with the time we live in" our frontman sings here. He’s got a point. Pop Sided takes cues from masters of catchy, unpretentious Songwriting, yet uses them to explore a vast array of different ideas. In that sense, the piece has one debt to the sounds of the past and quite another to the creative advances of the future. Don’t let the name deceive you, this album is not accessible like the majority of pop. Doing my research for this review I stumbled across an interview where Belew confesses that the album is based entirely off his interpretation of pop, gouged from what he listened to growing up. Flying around in a myriad of different directions, the piece takes its starting principles from the creative mainstream but refuses to constrain itself. In some respects, I don’t even like all the directions it explores: I simply don’t know what to make of some of them. Still, it is the kind piece to be looked at as an exercise in adventurous creating, from one of rock’s most incisive musical figures. 8/10

Maraton: Meta (Indie Recording)

A self-identified Progressive Pop act from Oslo, there are hints of new wave and alt-prog about Maraton. Although Far from the first musicians to meld diverse song compositions, with layered synths and sweeping melodies, there is a dark futuristic tone which Meta embraces. Hints of Muse and Leprous come to mind. There are definitely elements here which, to quote the bands own description ‘’ deserve to be savoured and absorbed in more than one listen’’. At the same time, however, there are frustrating aspects which don’t so much make me want to return as they do make me want to cease listening altogether. Let me be clear, the core sound and ethos here is a fine one, yet there are numerous distractions – including one large and consistent one - which make the debut a chore to slog through, dragging down the listening experience as a whole.

To begin with the positives, I love the epic synth/guitar combination on Seismic and the way the different layers gradually stack on top of one another before igniting a dramatic chorus. On a different note, I greatly appreciate the changes in tone, between bliss and chaos on Prime, the unpredictability proving a fascinating aspect. Moments like Body Double and Spectral Friends are intricately composed, the complexity and progression proving hauntingly fascinating. Meta really excels in never once staying the same. As soon as we begin to settle into a groove, the piece lurches off in a distinct and unexpected direction, a feature particularly aided by the juxtapositions of traditional instrumentation with keyboard effects, and electronic passages. Although this can feel jarring at times, the jolting nature is strangely not one of my main complaints, for where the execution is lacking, the determination to stay enthralling and keep the listener enticed is always present.

Chief among my gripes with Meta is the production. Of course, everything is perfectly audible and clear, yet it is almost too clean. Everything glitters and shines with a sickly amount of polish, frequently detracting from the commanding tone. Take Blood Music, the second song on the album. With the harsh synth touches, and the short, sharp bursts of energy emanating from the bass, I would have expected this anthem to enrage my senses and set my heart beating with excitement at the sheer force of the vigour on display. Rather, the sheen of the production robs the entire album of any power, making me feel bored and disillusioned. I think I can posit a guess as to why this approach might have been taken. Logic utilized: a squeaky clean mix will help bring out the detail and lend well to the spacey motifs. Reality: a mix this sanitized takes away more than it adds. Whatsmore, while I’m prepared to attribute my second issue to acquired taste, our vocalists singing doesn’t help matters, his lack of character and tendency to recklessly slide from one note to the next, serving as a major disruption. Together, these problems do not bode well for my overall enjoyment and make an otherwise decent album, arduous to sit through.

Conclusively, I would say Maraton has the potential to be a unique and interesting act, by virtue of the different pathways and avenues that they explore. Crucial in their development, however, must be a willingness to hone their production style, allowing their compositions to truly shine. 6/10

Daniel Tompkins: Castles (Kscope)

When I heard that Tompkins was making a solo album, I was intrigued yet sceptical. An excellent vocalist, I wasn’t sure how he would fare outside of the progressive, space rock of Tesseract, and didn’t know what direction the project would take. Not fully detached from his main work, yet different in its own right, Castles is a distinctly mellow album. There is a clear focus on atmospheric synths and moody vocals, with guitars only cascading in on particularly climatic moments. There have always been elements of electronic music in his songcrafting and this was his chance to explore those ideas outside of those confines. Lyrically, the album is all about relationships, and their creative yet destructive potential. There was no reason why a minimalist approach, with a strong concept to draw from, couldn’t have worked. Sadly, I find the follow through on a lot of these ideas to be dull, tedious and emotionally vacuous. There is nothing offensive here, yet there is nothing awe-inspiring either.

Saved begins, its rising and falling synth melody, looping throughout the entire song and quickly becoming tedious. While the archaic imagery, ruminating on kings, queens, and betrayal is thought-provoking, the music itself does little to complement these ideas, keeping its slow, monotonous path. I admit that Black The Sun is one of the only songs which goes some way towards being emotionally deep, the contrast between the smooth verses and soaring choruses, somewhat living up to the sentimental themes at play. However, when our narrator is trying to conjure emotion, as on the allegedly anguished Kiss, or the pseudo-contemplative Cinders, the music fails to chart a course through those sentiments. Instead, the songs choose a seemingly appropriate tone, which they then refuse to deviate from, across their entire run length. Make no mistake, I can appreciate the discrete approach, yet had Tompkins experimented with a larger array of effects, worked with another synth-pop act, or fleshed out the instrumental palate, I may not have been so disappointed. Considering the precision and detail which Tesseract load into their compositions, I cannot believe that I’m criticizing this project for being too shallow. Though this may be a calling which their frontman is passionate about exploring, I fail to see that passion fully transferred into any of these songs.

While I like to end my reviews by assessing the quality of an album based on the tastes of those who enjoy that particular type of music, I don’t think people who enjoy electronic music will get much out of Castles. The album is such a vapid void of nothingness that I can’t see anyone’s life being enriched by its ambiance. While I take no pleasure in pouring scorn on an idea which may mean a lot to Tompkins, the overarching emptiness on the show means most won't remember the album's existence, come the end of the year 3/10

The Mountain Goats: In League With Dragons (Self Released)

Creative brainchild of Jon Darnielle, The Mountain Goats type of clever, sharp-witted folk rock, has earned them a cult following. Despite the admittedly shoddy production quality of the first few albums, that has been an aspect which has improved over time. Albums like The Sunset Tree and Transcendental Youth are classics to many fans, enticed by the careful and meditative songwriting. In recent years, there has been a focus on thematic albums, which don’t so much as dive into the concept at hand as they do use the theme as a catalyst to explore human relationships. Beat The Champ wasn’t solely about Pro wrestling, just like Goths wasn’t entirely about youths who wear black and listen to The Cure. We are confronted with a similar case here. In League With Dragons has been described by Darnielle as a ‘partial rock opera’ inspired by tabletop role-playing games in the vein of D&D. 

Throughout, our chief polemicist takes the mythical and twists it to portray real-world circumstances. Gradually, we are led to explore introspective themes, through the unique lens of fabled civilizations and mythical creatures, leading the listener to confront the bizarre, uncanny and dreamlike aspects of their own existence on earth. Aside from the obvious illusions to D&D lore, it is worth noting that parts of this album are set in a besieged seaside town named Riversend, ruled over by an aging wizard. From the start, we are painted a bleak picture of this fantasy world, yet by constantly returning to the idea, Darnielle is able to tie his commentary around a fictionalized arc. ‘Give thanks to the broken bones you used to build your ladder’ he sings on Younger, referencing a literal tabletop game act, and making clear the importance of moving past destructive tendencies. Contextually, the album opens on the anthemic Done Bleeding where the imaginary elements are stripped away, and our narrator addresses his recovery from drug addictions. The album constantly flickers between the existent and make-believe, but the idea which stays constant is that of wizards whose power is fading. Clemency For The Wizard King details a part in the story where the aforementioned ruler of Riversend is taken captive, while the locals plead for his release. Likewise, the preceding, Passaic 1975, is all about Ozzy Osbourne – a personal icon of Darnielle’s – and the struggles he endured. 

There are similar songs dedicated to Doc Gooden and Waylon Jennings, and what are they if not illusions to how powerful figures can surrender or wear out their ‘magic’ overtime, and calls for today’s ‘magicians’ to ‘cut loose the handcuffs’? As the album goes on, the line between personal experience and fantastical storytelling becomes less and less clear, in a move which I’m sure was intentional. Going Invisible 2 and Cadaver Sniffing Dog are fruitful in their images of destruction, the former seeming to rejoice in the idea – ‘I’m gonna burn it all down today and sweep the ashes away’ – while the latter describes gazing upon a ‘smoking wreck’ of a scene. In true mountain goats style, the wordplay switches between being autobiographical and story focussed. These songs could just as easily be portraying opposite perspectives in a bloody battle for power, as they could a corrupt and abusive relationship. Alternatively, look to the mournful piano ballad, An Antidote For Strychnine, a piece sung from the perspective of a scientist who feels trapped like a ‘lab rat’, doomed to an existence of finding medical cures for wounded war personnel. 

Sicilian Crest is a triumphant moment presenting a heroic character, who is characterised by the songwriter as a ‘phasi-fascist individual’. These ambiguities are crucial to understanding In League With Dragons, and indeed everything The Mountain Goats have ever done. Darnielle is not one to present easy answers, preferring to introduce a surface level theme, leaving the rest to the listener’s imagination. As nerdy as an album based on Dungeons and Dragons might sound, it is testament to the excellent songcrafting that such a simple idea can be twisted and melded in so many directions. 8/10

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