Magnum, Hand Of Dimes, Coliseum Theatre, Aberdare 5th June 2019
It’s been a while since I renewed my acquaintance with Magnum. Having first seen them way back in the long defunct New Ocean Club on Rover Way in Cardiff in 1984 on The Eleventh-Hour tour, my most recent experience of them live was a rather flat show at the Steelhouse Festival in 2013. I’ve deliberately missed their last couple of Welsh appearances as a result of that showing and the Ed suggested that their 2016 show at The Tramshed saw frontman Bob Catley struggling badly. But the lure of the Midlands melodic giants is always strong, their early albums sitting amongst my favourite music of all time and with a recent output that is as strong as anything they have ever written it seemed an appropriate time to travel to the heart of the Valleys and catch the band in the intimate setting of the Coliseum Theatre in Aberdare. It was also an opportunity for fellow writer Rich to see Magnum for the first time. Neither of us were to be disappointed.
One of the masterstrokes of Orchard Live’s promotion of this special show was to add local lads Hand Of Dimes (8) to the bill. As we strolled to the theatre from the ample local parking, the HoD army were out in force with probably as many t-shirts displaying their logo as those wearing Magnum shirts. Having seen Hand Of Dimes several times in recent years, I knew that we’d get nothing but professionalism and as soon as the band launched into Looking At You that was confirmed. Bassist Mark Maybry having returned from his role as part of Bernie Marsden’s band and he had the added buzz of being confirmed as Marsden’s bass player for the forthcoming Joe Bonamassa cruise. There was certainly a spring in his thumping bass lines as he fought through the inevitable fatigue to play his part in another high-quality Dimes performance.
I’ve reviewed the band a number of times, but it is always worth mentioning that Dimes possess three things in spades: magnificent musicians who do what they do with the minimum of fuss and maximum effectiveness; quality songs which appeal to everyone; and a genuine humbleness which is the foundation of every show. As always, it was Nev McDonald whose stunning vocals took centre stage, but this is a band who are a collective unit. Alongside Maybry and McDonald, who loved the typical Welsh banter the partisan crowd threw at him, drummer David Stephenson held it tight at the back, Colin Edwards added the sublime lead guitar work and Nev’s long time sparring partner Neil Garland on keyboards, backing vocals and harmonica was as uber cool as usual.
Unsurprisingly the bulk of the set came from the excellent Raise album, which is a release I never tire of listening to. Pinstripe Arrogance, Guilty, Bad Reputation, Stranger In My Own Town and my personal favourite, the fantastic Jacobs Ladder sandwiched the Kooga track Like I’ve Never Known from the 1986 album Across The Water (McDonald and Garland go back to those days together). With the temperature rising, Dimes brought their 45-minute set to a close with Sail On. You know when a support band is good when it comes as a shock when they announce their final song and you are genuinely gutted. This happened … again. Welsh shows are rarer than hen’s teeth now, so this was a fabulous opportunity to see on of the best Welsh hard rock bands up close and personal.
Magnum (9) need little introduction. Formed in the mid 1970s, the band have been through more turbulence than a Boeing 737, but the nucleus of frontman Bob Catley and guitarist Tony Clarkin has been solid through thick and thin. Joining these two septuagenarians were long time bassist Al Barrow (since 2001) and more recent additions Rick Benton on keys and Lee Morris on drums. Opening with Wild Swan from the 1988 Wings Of Heaven, the band showed a passion that belied their years. Catley a ball of energy, air shapes thrown continuously, and whilst he has put on a few pounds over the years he still has the moves. In recent years he has tuned his vocals down an octave or two and this allows him to deliver those classics without murdering them. Clarkin rarely moves, but at 72 can still deliver the killer solo, as he demonstrated on the extended How Far Jerusalem. His presence and playing adds the heavy to the band.
Magnum chose the new tracks to open the show after Wild Swan, with three from 2016’s Sacred Blood ‘Divine’ Lies (The title track, Crazy Old Mothers and Your Dreams Won’t Die) and two from the excellent Lost On The Road To Eternity, (sadly minus Tobias Sammett for the title track). After that this was a set littered with classics. How Far Jerusalem, Les Morts Dansant and a spellbinding All England’s Eyes from the legendary On A Storyteller’s Night, an emotionally charged Don’t Wake The Lion (Too Old To Die Young) from Wings Of Heaven and a rocking Vigilante which shook the venue to its very foundations. Live Magnum are slick and tight, with the subtle lighting adding to the atmosphere and a stunning crystal-clear sound making this venue one of the gigs of the year. With Benton’s lush layered keyboards enhancing the songs, the implementation of some orchestral backing tapes added still further and no-where was that more evident than on the encore, where The Spirit was followed by the most amazing Sacred Hour I’ve ever heard. The hairs on the back of the neck were standing tall as my spine tingled and I was filled with joy at hearing orchestral sections accompany the band as they played this most iconic of all the band’s songs once more. Finishing to a huge ovation, there remains plenty of life in these veterans yet. With a new album due this year, Magnum’s star may well shine for a while longer.
Saturday, 8 June 2019
Friday, 7 June 2019
Reviews: Duff McKagan, Stoner Kings, Sepulchre, Stormhammer (Paul H, Matt & Rich)
Duff McKagan: Tenderness (Universal Music Enterprises) [Matt]
Out of all of the Guns N Roses/Velvet Revolver offshoots that came about when both of these bands were on hiatus/split up/were a tribute act. The ones that I enjoyed most were the ones Duff McKagan made with his band Loaded, these and his dalliances with The Walking Papers showed a side of a man far removed from the spindly four stronger of "The World's Most Dangerous Band". Built around his love of Hanoi Rocks/Heartbreakers guitarist the iconic Johnny Thunders, McKagan has used his music as a rallying cry that draws from the American traditions of country and Americana as well as the acerbic British punk scene.
Out of all of the Guns N Roses/Velvet Revolver offshoots that came about when both of these bands were on hiatus/split up/were a tribute act. The ones that I enjoyed most were the ones Duff McKagan made with his band Loaded, these and his dalliances with The Walking Papers showed a side of a man far removed from the spindly four stronger of "The World's Most Dangerous Band". Built around his love of Hanoi Rocks/Heartbreakers guitarist the iconic Johnny Thunders, McKagan has used his music as a rallying cry that draws from the American traditions of country and Americana as well as the acerbic British punk scene.
On his third solo album (second to be released officially) he has lowered the volume a little but not the resolve, this is bubbling mixture of Nashville country and blue collar grit at its finest much of that due to the influence of Shooter Jennings who takes the role of guitarist and producer for this album bringing most his band with him to add those oh so familiar fiddles and lap steel sliding. There's emotion to this record much more so than on any GNR track, Feel is a tribute to Chris Cornell that resonates for a long time after as does the rap-like Parkland (about the schools shooting of the same name) and the brilliant Last September where he shows his solidarity with the #MeToo movement.
It's a record that simmers rather than burning brightly but that's due to the lap steel and slide guitars that ring true, with even a few brief solo flourishes adding to the strings that swell. If you're looking for a hard rocking album this...isn't it...but if you want a considered, laid back record that has some serious points to make. 8/10
Stoner Kings: Alpha Male (Self Released) [Paul H]
Unreconstructed stoner rock with all the charm of Cro-Magnon man? If for some bizarre reason you are looking for such a thing, then please alight at this station because Finnish four-piece Stoner Kings are perfect for you. Formed initially in 2000 in Helsinki, the band split in 2008 following two albums [2001’s Brimstone Blues and 2006’s Fuck The World]. Founder member Michael ‘Starbuck’ Majalahti then turned to professional wrestling before resurrecting the band in 2016. Influenced by Sabbath, Kyuss, Cathedral, Trouble, Grand Magus and QOTSA, Alpha Male is 45 minutes of heavy riffs which are chunkier than a bag of chips from chip alley in Cardiff on a Saturday night at 2am, primitive drumming and an attitude bigger than the Cardiff City Soul Crew. Designed to be played loud, there are elements of sleaze in Starbuck’s delivery which is generally bombastic and full on. Tracks such as Fucked AD, Damnations Own and Born of Ape leave little to the imagination; blasting hard and heavy, Stoner Kings’ approach may well belong to a bygone age, but they certainly do what they do with a swagger which is kind of endearing. Play this loud. It’ll certainly annoy those pesky neighbours. 7/10
The latest release from Swansea death-thrash beasts Sepulchre promises much. Opening with a brooding riff driven instrumental, Raptures End. This track is massive, imposing in stature with the switch between slow, crushing riffs and all-out speed balancing neatly. Disappointingly it stutters to an end when it is crying out to segue directly into Ignored which follows. That gap drops the needle on the accelerator when it needed to be blasted into orbit. Ignored remains a brutal punch in the face, one of five tracks on this album that formed the second EP, The Great South Western Depression. The pace doesn’t slow on the following track Entropy which chugs along nicely, Darren Evans’ snarling vocals spitting out the chorus with venom. Three tracks in, less than ten minutes gone and its already at a pleasingly frantic pace. Sadly, the mix is regrettably poor, and as a result instead of the razor-sharp lacerations of Evans and Dan Yeoman’s dual guitars, we get a muffled sound, with the guitars lost in a soupy fog.
Stormhammer: Seven Seals (Massacre Records) [Rich]
Stoner Kings: Alpha Male (Self Released) [Paul H]
Unreconstructed stoner rock with all the charm of Cro-Magnon man? If for some bizarre reason you are looking for such a thing, then please alight at this station because Finnish four-piece Stoner Kings are perfect for you. Formed initially in 2000 in Helsinki, the band split in 2008 following two albums [2001’s Brimstone Blues and 2006’s Fuck The World]. Founder member Michael ‘Starbuck’ Majalahti then turned to professional wrestling before resurrecting the band in 2016. Influenced by Sabbath, Kyuss, Cathedral, Trouble, Grand Magus and QOTSA, Alpha Male is 45 minutes of heavy riffs which are chunkier than a bag of chips from chip alley in Cardiff on a Saturday night at 2am, primitive drumming and an attitude bigger than the Cardiff City Soul Crew. Designed to be played loud, there are elements of sleaze in Starbuck’s delivery which is generally bombastic and full on. Tracks such as Fucked AD, Damnations Own and Born of Ape leave little to the imagination; blasting hard and heavy, Stoner Kings’ approach may well belong to a bygone age, but they certainly do what they do with a swagger which is kind of endearing. Play this loud. It’ll certainly annoy those pesky neighbours. 7/10
Sepulchre: Thrill Of A Kill (Self Released) [Paul H]
Evans’ lead on Jolly Jane for example, is almost intelligible when it should be slicing like a hot knife through butter. Aimee Coppola’s snare sound on the other hand is front and centre and her reliable time keeping throughout the album is impeccable. Acid For Blood is a gruelling beast, whilst the familiar gnarly Modern-Day Slavery ebbs and flows, the underlying repeating riff crawling inside the brain. Move Or Die is another favourite from the EP, but it’s two of the new tracks, the monstrous Clouded, which has one massive mother of a hook, and the showpiece central song Desolate with its wave of bone crushing riffage, cohesive rhythm section and guttural roars which really demonstrate how tight a unit Sepulchre are. At times Thrill Of A Kill is punishingly good. I just wish I could hear it a little more clearly. 7/10
Stormhammer: Seven Seals (Massacre Records) [Rich]
It’s common knowledge that if you want to find some good power metal then the place to look for it is in Germany. Despite there being a countless number of German power metal bands it is rare to find a dud band amongst them and thankfully Stormhammer do not break the trend and have greatly impressed with their latest and seventh album Seven Seals. Seven Seals is very much on the heavier end of the power metal spectrum with clear influences from thrash metal and melodic death metal as well as the standard anthemic European power metal sound. Ably steering the ship into all these directions is frontman Matthias Kupka making his debut appearance fronting the band.
He covers a wide array of different vocal styles seamlessly slipping between them from gruff thrash style vocals, power shouts, throat shredding screams and growls and epic soaring cleans. Plus to boot he even performs lead guitar duties. This is one talented gentleman. The songs range from thunderous opener Sleepwalker to speed metal assaults such as Your Nemesis and Downfall to softer ballads such as Deal With The Dead to more heavy metal anthems such as Prevail and Under The Spell. This mix of sounds and styles keeps things interesting throughout the album and my attention was held from start to finish. Seven Seals whilst nothing groundbreaking is another great piece of German power metal. 8/10
He covers a wide array of different vocal styles seamlessly slipping between them from gruff thrash style vocals, power shouts, throat shredding screams and growls and epic soaring cleans. Plus to boot he even performs lead guitar duties. This is one talented gentleman. The songs range from thunderous opener Sleepwalker to speed metal assaults such as Your Nemesis and Downfall to softer ballads such as Deal With The Dead to more heavy metal anthems such as Prevail and Under The Spell. This mix of sounds and styles keeps things interesting throughout the album and my attention was held from start to finish. Seven Seals whilst nothing groundbreaking is another great piece of German power metal. 8/10
Reviews: Darkthrone, Heart Of A Coward, Until Rain, Destrage (Paul H, Matt, Sean & Liam)
Darkthrone: Old Star (Peaceville Records) [Paul H]
Three years after Arctic Thunder roared, the legendary duo of Fenriz and Nocturn Culto return with album 17. Historically vital to the Norwegian black metal scene, Darkthrone retain elements of their early raw black metal but have moved some distance away from the ravaging sound of the early 1990s. Early on it’s worth noting the earthy sound, mixed by Sanford Parker and mastered by Jack Control, with the old school drum sound of Fenriz captured perfectly is exactly what the album needs. It’s also the first album for a long time not to have included Nocturn Culto on the production side of things. The other interesting thing about Old Star is the fantastic cover art by Chadwick St John. At 38 minutes it isn’t a long album. Six songs, which mix up styles and pace, opens with I Muffle Your Inner Choir, a rampant dark track which leads neatly into the almost old school heavy metal style of The Hardship Of The Scots complete with Tom G Warrior style “ugh”, a Dio style riff incorporated within the track. The title track is a slower, almost doom metal piece and the shortest on the album. Alp Man has an interesting chug to it, whilst Duke Of Gloat returns to the punk-infused rapid power. Closing with the haunting The Key Is In The Wall, a Celtic Frost style chopped guitar and a Motorhead flavour added to the ballsy punch that underpins this song. Old Star is a grower; spin it several times in a row and marvel at the talent. It may not please the purists anymore, but Darkthrone have always delivered what they want when they want. Old Star is no exception, a punchy, heavy and sometimes blisteringly good release. 8/10
Heart Of A Coward: The Disconnect (Arising Empire) [Liam]
Having had this band recommended to me by a friend and enjoyed their previous record, i was looking forward to it. I wasn't expecting anything amazing, but it's actually blown me away with how good it is. With the addition of new vocalist Kaan Tasan, the London Metalcore mob are more focused toward riffs and the chorus' of songs rather than trying to be generic. With the furious guitar work of both Carl Ayers & Steve Haycock backed with V on bass and Noddy destroying the drum kit, the band prove they’re a force to be reckoned with in this genre. From start to finish the album is great. Just hitting you with a barrage of metalcore but not sounding stale at the same time. The band has a unique sound about them that makes them stand out. I'm unaware of what that sound is, but that makes it better, if you have a unique sound to any other band in the scene, then use it to your advantage. If anything, with this new record, the boys have proved they are more than capable of handling themselves and keeping their music fresh. With a spot at this years Download festival, they are worth a watch. I know I'll be there watching! Will you? 8/10
Until Rain: Season V (Rock Of Angels Records) [Matt]
Originally founded in Thessaloniki in 2008, Until Rain are now based out of London but they are still playing the stirring mix of alternative/progressive rock that has been a part of their career for a while now. They may have been a more metal based act earlier in their career but now on this their fifth album, they have touches of the melodic dexterity of Haken but also the fragility of Anathema, who's Daniel Cardoso mixed this record. The album deals with the TV series Leftovers, featuring Christopher Eccleston, where 2 percent of the population (140 million people) disappear completely leaving the remaining people to deal with it in different ways. It's a show that makes for somber and dour viewing but it makes for great progressive music, for me if a band are experimental or emotional the more melancholic the better. The concept of this record, the title is a double meaning towards a fifth album and a fifth season of the show, sees numerous characters trying to deal with "grief, inability to adjust, loneliness, search for meaning/weakness, the need to save themselves and their loved ones."
It's a very musical record with Lef Germenlis contributing to the lion's share of the music as he provides keys, guitars, backing vocals, string arrangements & programming, as Theodore Amaxopoulos adds yet more fluid guitarwork, Linus Abrahamson takes deep grooves with both fretted and fretless bass underpinning things and linking up with the flowing percussion of Matthew Vella. Musically these men all converge together excellently bringing a cinematic tone to songs such as Miracle. Musically with so much going on it's great that they have a dexterous vocalist in the shape of Cons Marg who has a fantastic set of pipes that can be soaring, be sorrowful and scream (Time Escape) equally well, the harmonies are fleshed out with some beautiful female vocals from Donna Zed in the backing role and on The Long Break we get special guest Vicky Psarakis from The Agonist taking the co-lead vocal, this is where things get really Anathema sounding with emotion ringing out of every line.
Season V are really impressive progressive metal/rock album from a band who have gradually improved their craft with every releases. They hook you and resolutely try to keep you on their journey from the opening moments until the closing bars. Their sentiment is never overshadowed by their musical agility and they never stray into tedium when they try to address complex topics. As a prog fan this album is amazing, I loved it, I think you will too! 9/10
Destrage: The Chosen One (Metal Blade Records) [Sean]
Maturity is word that’s thrown around a lot. In some cases, it’s managing the summon enough resistance to not purchase yet another VST amp suite, knowing full well you’ll never achieve tonal greatness (the pain is real). It’s used quite a bit by us music journalists, a catch all term to adequately (or lazily) describe an artists musical growth. Generally a positive, as I’m sure most would agree. An yet sometimes, just sometimes, you’re left yearning for the days of youth full exuberance, piss, vinegar and full blown balls to the wall! Take Italian progressive metalcore act Destrage for instance. When word had reached me of their inevitable “maturity” via 2014’s A Means To No End, I’d be lying if a small part of me didn’t die on the inside. Such was the wacky schizoid fun of Are You Kidding Me? No, I fell in love with these stupidly talented Italians and their brand of technical amazing tomfoolery. I couldn’t bare the notion of them eschewing fun to be “super cereal” but as you and I both know, the party ends for everyone and it’s time to grow up. Enter new album, The Chosen One, swaggering in with big boy pants in tow. Aight Destrage, let’s do this!
And they’re off! Immediately out of the gate with title track The Chosen One, Destrage waste little time in establishing their musical chops, blasting and grooving with as much might as they can muster. Their innate poppy sensibilities soon make themselves knows, coming across as an djentier Every Time I Die. It’s over pretty quickly, About That picking things back up again with guitarists Ralph Salati and Matteo Di Gioia firing off all manner of riffy pyrotechnics. It’s pretty energetic, with vocalist Paolo Colavolpe’s ever contorting delivery never failing to amaze. He morphs from boy band crooning to death metal gutturals in the blink of an eye, perfectly in sync with the rest of the band. Whilst it may not be the cartoony antics of yore, this is still very much Destrage and it’s really, REALLY tight. Hey, Stranger! mostly recalls everything I loved about them in the first place, rocking the fuck out yet never failing to inject a rip roaring fret run here or cheeky breakdown there. At The Cost Of Pleasure is djentier number, alternating between ambient passages and thunderous lows.
Three years after Arctic Thunder roared, the legendary duo of Fenriz and Nocturn Culto return with album 17. Historically vital to the Norwegian black metal scene, Darkthrone retain elements of their early raw black metal but have moved some distance away from the ravaging sound of the early 1990s. Early on it’s worth noting the earthy sound, mixed by Sanford Parker and mastered by Jack Control, with the old school drum sound of Fenriz captured perfectly is exactly what the album needs. It’s also the first album for a long time not to have included Nocturn Culto on the production side of things. The other interesting thing about Old Star is the fantastic cover art by Chadwick St John. At 38 minutes it isn’t a long album. Six songs, which mix up styles and pace, opens with I Muffle Your Inner Choir, a rampant dark track which leads neatly into the almost old school heavy metal style of The Hardship Of The Scots complete with Tom G Warrior style “ugh”, a Dio style riff incorporated within the track. The title track is a slower, almost doom metal piece and the shortest on the album. Alp Man has an interesting chug to it, whilst Duke Of Gloat returns to the punk-infused rapid power. Closing with the haunting The Key Is In The Wall, a Celtic Frost style chopped guitar and a Motorhead flavour added to the ballsy punch that underpins this song. Old Star is a grower; spin it several times in a row and marvel at the talent. It may not please the purists anymore, but Darkthrone have always delivered what they want when they want. Old Star is no exception, a punchy, heavy and sometimes blisteringly good release. 8/10
Heart Of A Coward: The Disconnect (Arising Empire) [Liam]
Having had this band recommended to me by a friend and enjoyed their previous record, i was looking forward to it. I wasn't expecting anything amazing, but it's actually blown me away with how good it is. With the addition of new vocalist Kaan Tasan, the London Metalcore mob are more focused toward riffs and the chorus' of songs rather than trying to be generic. With the furious guitar work of both Carl Ayers & Steve Haycock backed with V on bass and Noddy destroying the drum kit, the band prove they’re a force to be reckoned with in this genre. From start to finish the album is great. Just hitting you with a barrage of metalcore but not sounding stale at the same time. The band has a unique sound about them that makes them stand out. I'm unaware of what that sound is, but that makes it better, if you have a unique sound to any other band in the scene, then use it to your advantage. If anything, with this new record, the boys have proved they are more than capable of handling themselves and keeping their music fresh. With a spot at this years Download festival, they are worth a watch. I know I'll be there watching! Will you? 8/10
Until Rain: Season V (Rock Of Angels Records) [Matt]
Originally founded in Thessaloniki in 2008, Until Rain are now based out of London but they are still playing the stirring mix of alternative/progressive rock that has been a part of their career for a while now. They may have been a more metal based act earlier in their career but now on this their fifth album, they have touches of the melodic dexterity of Haken but also the fragility of Anathema, who's Daniel Cardoso mixed this record. The album deals with the TV series Leftovers, featuring Christopher Eccleston, where 2 percent of the population (140 million people) disappear completely leaving the remaining people to deal with it in different ways. It's a show that makes for somber and dour viewing but it makes for great progressive music, for me if a band are experimental or emotional the more melancholic the better. The concept of this record, the title is a double meaning towards a fifth album and a fifth season of the show, sees numerous characters trying to deal with "grief, inability to adjust, loneliness, search for meaning/weakness, the need to save themselves and their loved ones."
It's a very musical record with Lef Germenlis contributing to the lion's share of the music as he provides keys, guitars, backing vocals, string arrangements & programming, as Theodore Amaxopoulos adds yet more fluid guitarwork, Linus Abrahamson takes deep grooves with both fretted and fretless bass underpinning things and linking up with the flowing percussion of Matthew Vella. Musically these men all converge together excellently bringing a cinematic tone to songs such as Miracle. Musically with so much going on it's great that they have a dexterous vocalist in the shape of Cons Marg who has a fantastic set of pipes that can be soaring, be sorrowful and scream (Time Escape) equally well, the harmonies are fleshed out with some beautiful female vocals from Donna Zed in the backing role and on The Long Break we get special guest Vicky Psarakis from The Agonist taking the co-lead vocal, this is where things get really Anathema sounding with emotion ringing out of every line.
Season V are really impressive progressive metal/rock album from a band who have gradually improved their craft with every releases. They hook you and resolutely try to keep you on their journey from the opening moments until the closing bars. Their sentiment is never overshadowed by their musical agility and they never stray into tedium when they try to address complex topics. As a prog fan this album is amazing, I loved it, I think you will too! 9/10
Destrage: The Chosen One (Metal Blade Records) [Sean]
Maturity is word that’s thrown around a lot. In some cases, it’s managing the summon enough resistance to not purchase yet another VST amp suite, knowing full well you’ll never achieve tonal greatness (the pain is real). It’s used quite a bit by us music journalists, a catch all term to adequately (or lazily) describe an artists musical growth. Generally a positive, as I’m sure most would agree. An yet sometimes, just sometimes, you’re left yearning for the days of youth full exuberance, piss, vinegar and full blown balls to the wall! Take Italian progressive metalcore act Destrage for instance. When word had reached me of their inevitable “maturity” via 2014’s A Means To No End, I’d be lying if a small part of me didn’t die on the inside. Such was the wacky schizoid fun of Are You Kidding Me? No, I fell in love with these stupidly talented Italians and their brand of technical amazing tomfoolery. I couldn’t bare the notion of them eschewing fun to be “super cereal” but as you and I both know, the party ends for everyone and it’s time to grow up. Enter new album, The Chosen One, swaggering in with big boy pants in tow. Aight Destrage, let’s do this!
And they’re off! Immediately out of the gate with title track The Chosen One, Destrage waste little time in establishing their musical chops, blasting and grooving with as much might as they can muster. Their innate poppy sensibilities soon make themselves knows, coming across as an djentier Every Time I Die. It’s over pretty quickly, About That picking things back up again with guitarists Ralph Salati and Matteo Di Gioia firing off all manner of riffy pyrotechnics. It’s pretty energetic, with vocalist Paolo Colavolpe’s ever contorting delivery never failing to amaze. He morphs from boy band crooning to death metal gutturals in the blink of an eye, perfectly in sync with the rest of the band. Whilst it may not be the cartoony antics of yore, this is still very much Destrage and it’s really, REALLY tight. Hey, Stranger! mostly recalls everything I loved about them in the first place, rocking the fuck out yet never failing to inject a rip roaring fret run here or cheeky breakdown there. At The Cost Of Pleasure is djentier number, alternating between ambient passages and thunderous lows.
Whilst not as hooky as the others, it’s good track in it’s own right with it’s reserved demeanour acting as nice counterweight. And god damn, those lush lays of melody at the end! Mr. Bugman takes us back to classic Destrage. Playful, pop laden vocal hooks drive it onwards, complex guitar work never derailing its structure. Rage, My Alibi displays signs that “maturity” I’m ever so wary of, industrial beats and what can only be described as a “I whisper my words to sound damaged” vocal delivery. Interesting, though not the most enjoyable of songs. Still, it fits in well in the general flow of The Chosen One with Headache And Crumbs getting things back on track. We soon reach the finale of The Gifted One, with Destrage fully embracing ambience and all manner of synth and strumming. Dense chords above a slow and steady pace give way to groove laden stomping, Destrage employing every single trick at their fingertips. It briefly revisits opener The Chosen One, ending in a suitably oddball fashion.
Well, that was certainly a rush! For all my trepidation that one of my favourite bands had “matured” into normies” was mostly all for naught. Sure, the fun factor is dialled down a few notches but it isn't absent. Traces of those ol’ shenanigans are still there, just married seamlessly with Destrage’s newfound level headedness. It’s like bumping into an old schoolmate that you haven't seen in a while. Sure, he’s a bit more serious than you remember. But at the heart of it all? Even if he’s tidied himself up a bit, he’s still a blast to be around and The Chosen Ones is a blast to listen to. Good stuff. 8/10
Well, that was certainly a rush! For all my trepidation that one of my favourite bands had “matured” into normies” was mostly all for naught. Sure, the fun factor is dialled down a few notches but it isn't absent. Traces of those ol’ shenanigans are still there, just married seamlessly with Destrage’s newfound level headedness. It’s like bumping into an old schoolmate that you haven't seen in a while. Sure, he’s a bit more serious than you remember. But at the heart of it all? Even if he’s tidied himself up a bit, he’s still a blast to be around and The Chosen Ones is a blast to listen to. Good stuff. 8/10
Reviews: Gloryhammer, Damim, God Shaped Devil, Reveal (Paul H & Matt)
Gloryhammer: Legends From Beyond the Galactic Terrorvortex (Napalm Records) [Matt]
Epic metal madmen Gloryhammer have done this trilogy thing the correct way round. If you follow the the Holy Trinity (Star Wars) it's supposed to be like this: Part 1: Establishing Story, Part 2: Baddies Win, Part 3: Starts out bad but goodies win. Gloryhammer have followed this to the letter, as their third album Legends From Beyond the Galactic Terrorvortex we see our hero Angus McFife return from the future explored on their previous record to an alternate version of The Kingdom Of Dundee which sees Emperor Zargothrax (Chris Bowes - keys, harsh vocals) now controlling the Kingdom Of Dundee so when Angus McFife (Thomas Winkler - vocals) and his companions Ser Proletius (Paul Templing - guitar), Ralathor (Ben Turk - drums) and Hootsman (James Cartwright -bass) return to try and destroy.
The conceptual story is told by galloping metal tracks such as The Land Of Unicorns, Power Of The Laser Dragon Fire, filled with Bowes' trademark keyboard solos duelling with the solos of Templing while the orchestrations swell more and more making this record pretty cinematic in it's scope. I do love Winkler's vocals he really gets into the bonkers Sci-Fi/Fantasy concept of this record, which gets very loose here mixing Ziltoid with Rhapsody through songs like the brilliant Gloryhammer which is brilliant and had me smiling from ear to ear as McFife builds his forces against Zargothrax ready for the almighty melee on the 12 and a half minute finale The Fires Of Ancient Cosmic Destiny which is the most ambitious song Gloryhammer have ever created. Unlike with Star Wars this third chapter Legends From Beyond the Galactic Terrorvortex is most definitely the best entry. Now all I hope is that they don't start a prequel trilogy after this album as we all know how that ends. 8/10
Damim: A Fine Game Of Nil (Apocalyptic Witchcraft Recordings) [Paul H]
This has been one of the most anticipated albums of the year and I’m pleased to report that the first album from Damim under their revised name is an absolute belter. It’s been 12 years since The Difference Engine was released under the Dam moniker. Although only Nathanael Underwood remains from that brutality, this remains very much the Damim who have devastated Cardiff in their recent appearances. In A Language They Understand opens the album, bursting with huge thrashing riffs, head splitting drumming and Underwood’s ferocious snarl. Descendent Of Amalek possesses an opening groove ridden riff of filthy magnitude before the track expands with intensity, raging guitar work topping the thunderous drumming and dirty bass rumbling. There is little to disappoint on this album, with Underwood on fine form and joined by Flow Toulman on drums, Faust Perez on bass and guitarist Edd Amos. Beyond The Call Of Emptiness is a harrowing, almost melancholic reflection, dark and menacing with an air of malevolence that is truly unsettling whilst Something For The Weakened not only boasts one of my favourite song titles for ages but is also heavy and powerful enough to peel paint from the walls.
Reveal: Overlord (Wormholedeath Records) [Paul H]
Put together by Tino Hevia, one of the founders of Darksun and Nörthwind, Reveal’s sophomore album is a combination of power metal and melodic rock. Hevia recruited singer Rob Lundgren (well known on the internet due to his YouTube channel apparently) and several respected Spanish musicians to complete the line-up. Overlord opens brightly with the Egyptian themed The Name Of Ra before the thrashing I’m Elric, an ode to the high king of Melniboné in the Moorcock written saga. However, Master Of Present And Past is bloated, trying to be too clever whilst containing an irritating riff and a sugary chorus.
Epic metal madmen Gloryhammer have done this trilogy thing the correct way round. If you follow the the Holy Trinity (Star Wars) it's supposed to be like this: Part 1: Establishing Story, Part 2: Baddies Win, Part 3: Starts out bad but goodies win. Gloryhammer have followed this to the letter, as their third album Legends From Beyond the Galactic Terrorvortex we see our hero Angus McFife return from the future explored on their previous record to an alternate version of The Kingdom Of Dundee which sees Emperor Zargothrax (Chris Bowes - keys, harsh vocals) now controlling the Kingdom Of Dundee so when Angus McFife (Thomas Winkler - vocals) and his companions Ser Proletius (Paul Templing - guitar), Ralathor (Ben Turk - drums) and Hootsman (James Cartwright -bass) return to try and destroy.
The conceptual story is told by galloping metal tracks such as The Land Of Unicorns, Power Of The Laser Dragon Fire, filled with Bowes' trademark keyboard solos duelling with the solos of Templing while the orchestrations swell more and more making this record pretty cinematic in it's scope. I do love Winkler's vocals he really gets into the bonkers Sci-Fi/Fantasy concept of this record, which gets very loose here mixing Ziltoid with Rhapsody through songs like the brilliant Gloryhammer which is brilliant and had me smiling from ear to ear as McFife builds his forces against Zargothrax ready for the almighty melee on the 12 and a half minute finale The Fires Of Ancient Cosmic Destiny which is the most ambitious song Gloryhammer have ever created. Unlike with Star Wars this third chapter Legends From Beyond the Galactic Terrorvortex is most definitely the best entry. Now all I hope is that they don't start a prequel trilogy after this album as we all know how that ends. 8/10
Damim: A Fine Game Of Nil (Apocalyptic Witchcraft Recordings) [Paul H]
This has been one of the most anticipated albums of the year and I’m pleased to report that the first album from Damim under their revised name is an absolute belter. It’s been 12 years since The Difference Engine was released under the Dam moniker. Although only Nathanael Underwood remains from that brutality, this remains very much the Damim who have devastated Cardiff in their recent appearances. In A Language They Understand opens the album, bursting with huge thrashing riffs, head splitting drumming and Underwood’s ferocious snarl. Descendent Of Amalek possesses an opening groove ridden riff of filthy magnitude before the track expands with intensity, raging guitar work topping the thunderous drumming and dirty bass rumbling. There is little to disappoint on this album, with Underwood on fine form and joined by Flow Toulman on drums, Faust Perez on bass and guitarist Edd Amos. Beyond The Call Of Emptiness is a harrowing, almost melancholic reflection, dark and menacing with an air of malevolence that is truly unsettling whilst Something For The Weakened not only boasts one of my favourite song titles for ages but is also heavy and powerful enough to peel paint from the walls.
Then we arrive at NecroKino. A haunting electro introduction which lurks eerily whilst the tension builds, holds and then explodes into a blistering instrumental. At over six minutes, Body Is Broken is the longest track on the album, and one of the most intense. It bludgeons from start to finish, the tsunami of blast beats, chugging riffs and numerous time changes making it one of the most interesting and impressive tracks on the album. Intriguingly, despite the blackened thrash that dominates, and there is plenty of nasty aggressive thrashing here, A Fine Game Of Nil veers sharply at times, whilst retaining the underpinning principles that you’d expect. Penultimate track Existential Epiphany Within A Waking Dream is case in point; an acoustic melodic piece, which provides an oasis of calm with the maelstrom that rages all around. The peace doesn’t last long though as the battery of the aptly named closing track All I Want To Know Is How It Ends brings a quite stunning album to a fitting close. Damim are incredible live and with this album they’ve achieved that live ferocity. 42 minutes which you should invest in. 9/10
God Shaped Devil: Dark Fields (Self Released) [Matt]
So this album got reviewed on the day one large orange baby entered UK airspace and touched down. Whether he's a God Shaped Devil you'll have to decide however he is American and from the opening fret slides of this debut album you'd be forgiven for thinking God Shaped Devil were too. In fact they aren't, splitting their membership between British and Hungarian the band are based in Manchester and was formed by frontman/lead guitarist Bécy Füzéri (Bex) and bassist/vocalist Lajos Borsi who make up the Hungarian contingent but didn't know each other before meeting at work and forming GSD. They brought on Luke Ellwood on drums and later his cousin Matt Morris on rhythm guitar after their original singer left. Their Creator Of Sodom EP was released in 2015 to high acclaim but this is the first set of recordings to feature the current line up of the band.
Now I mentioned they sounded American and what I mean by that is that they meld pit inciting thrash and head crushing groove in the same way as Machine Head and Lamb Of God do, though it's the MFH influence that looks large from the guitar work to the vocals GSD definitely owe a debt to the Oakland natives. The sharp biting riffs begin Guiding Light which has some delicious pinched harmonics beginning it before the kicks in properly with a technically excellent thrash, the vocals varying between snarls and grunts (Deadly Sign), Drowning Gravity adds a bit more of chunky beatdown, clearly a song made for pits and waves of headbanging. The music on offer is thrash at it's core but with big chunks of metalcore grooves and some a few extreme flavours making it more than just standard stuff. One of the standout tracks for me is Barbed Wire which has a lot of Trivium influence to it with the very melodic style and a tasty solo. Dark Fields is muscular debut album from this British/Hungarian act, they'll no doubt be slaying stages somewhere near you soon so I suggest you pick up Dark Fields in anticipation, play it loud, jump around and air guitar wildly, it's the only way. 8/10
God Shaped Devil: Dark Fields (Self Released) [Matt]
So this album got reviewed on the day one large orange baby entered UK airspace and touched down. Whether he's a God Shaped Devil you'll have to decide however he is American and from the opening fret slides of this debut album you'd be forgiven for thinking God Shaped Devil were too. In fact they aren't, splitting their membership between British and Hungarian the band are based in Manchester and was formed by frontman/lead guitarist Bécy Füzéri (Bex) and bassist/vocalist Lajos Borsi who make up the Hungarian contingent but didn't know each other before meeting at work and forming GSD. They brought on Luke Ellwood on drums and later his cousin Matt Morris on rhythm guitar after their original singer left. Their Creator Of Sodom EP was released in 2015 to high acclaim but this is the first set of recordings to feature the current line up of the band.
Now I mentioned they sounded American and what I mean by that is that they meld pit inciting thrash and head crushing groove in the same way as Machine Head and Lamb Of God do, though it's the MFH influence that looks large from the guitar work to the vocals GSD definitely owe a debt to the Oakland natives. The sharp biting riffs begin Guiding Light which has some delicious pinched harmonics beginning it before the kicks in properly with a technically excellent thrash, the vocals varying between snarls and grunts (Deadly Sign), Drowning Gravity adds a bit more of chunky beatdown, clearly a song made for pits and waves of headbanging. The music on offer is thrash at it's core but with big chunks of metalcore grooves and some a few extreme flavours making it more than just standard stuff. One of the standout tracks for me is Barbed Wire which has a lot of Trivium influence to it with the very melodic style and a tasty solo. Dark Fields is muscular debut album from this British/Hungarian act, they'll no doubt be slaying stages somewhere near you soon so I suggest you pick up Dark Fields in anticipation, play it loud, jump around and air guitar wildly, it's the only way. 8/10
Reveal: Overlord (Wormholedeath Records) [Paul H]
Put together by Tino Hevia, one of the founders of Darksun and Nörthwind, Reveal’s sophomore album is a combination of power metal and melodic rock. Hevia recruited singer Rob Lundgren (well known on the internet due to his YouTube channel apparently) and several respected Spanish musicians to complete the line-up. Overlord opens brightly with the Egyptian themed The Name Of Ra before the thrashing I’m Elric, an ode to the high king of Melniboné in the Moorcock written saga. However, Master Of Present And Past is bloated, trying to be too clever whilst containing an irritating riff and a sugary chorus.
Lundgren may well be an internet sensation, and he can certainly hit the notes, but his Jon Bon Jovi style saccharine delivery combined with material that is rather generic power metal in its quality means interest soon wanes. The Crusaders is mediocre, and the album also becomes more lightweight as it progresses. By the time you arrive at Remember My Words, a ghastly effort, the Bon Jovi comparisons are unavoidable and dominant keyboards weaken the release further. I gave this album three spins and it got worse on every listen. If you fancy power metal, stick to Blind Guardian, Rage or Primal Fear (ironically members of each band feature on the band’s debut album!). 5/10
Thursday, 6 June 2019
A View From The Back Of The Room: M2TM Bristol Semi Final 2 (Live Review By Paul H)
Bristol M2TM Semi-Final 2, The Exchange, Bristol
The word on social media is that this year’s M2TM competitions have seen an increase in competitors and quality at the events around the Country (and of course, abroad). Whilst this is certainly true of the South Wales events, it’s hard to know about other regions. So, having seen impressive alumni Embodiment, Mortishead and last year’s bludgeoning Body Harvest emerge from the event across the estuary in recent years, I travelled to Bristol and one of my favourite venues to see what our brothers and sisters from Avon had to offer.
A couple of observations: The guys from Mortishead and Questionable Life Choices run a tight ship. Arriving quarter of an hour before the first band were due to hit the stage, punters were already sporting their wrist bands and sinking a few beers in the warmth of the early evening. Stage times were posted around the venue, which was useful to keep track, and one of the team provided a helpful five-minute warning before the start of each act, ensuring most bands played to a reasonably full room. The larger venue also helps, with plenty of space to see (wide room and elevated stage) and a crystal-clear sound for most of the night meant that you could really enjoy the bands.
With six bands and a guest headliner, it was to the organisers credit that the event stuck virtually to time, with the inevitable gremlins only surfacing towards the end of the penultimate and then final competing band sets.
Opening proceedings, South Walian progressive metallers Trep (9) who I’d heard a lot of good things about. Having formed in 2017, the band has been working hard around the Welsh and South West area and whilst I don’t know the reason why they entered the Bristol event rather than Cardiff, it was soon apparent that they would likely have made it to any final. A superb 30 minutes raced by thanks to their captivating alternative progressive sound. With harmonies to die for, the band maintained a steel in their sound that kept the audience enthralled. Rhys Evans is a softly spoken frontman, but his vocals are startlingly good, clean and fresh, whilst his guitar work is excellent. Alongside him Sam Green’s thumping and adventurous bass lines and his constant wind milling added visual stimulation. His backing vocals and harmonies were fabulous.
Green locked in tightly with drummer Max Hill who kept the simple things simple. Musically, Trep appeal to me with longer songs, intricate passages, subtle time changes and variation to the pace and ferocity. At times letting rip as hard as any other band on the night, although there is much more to their sound. Songs from the Lucian EP and latest release Silence The Crows were well received from a crowd who were unlikely in general to have been rooting for them. Still, quality showed, and the judges made a fine choice in selecting the band for the final.
First delay to the running order came next as Basingstoke based outfit Knoww (5) took forever to set up. If there is one thing that will cause you to lose points with the judges, it’s tardy change overs. Drummer Radoslaw Wojcik wasn’t happy with his drum sound and spent many precious minutes trying to get it to his liking. As frustration in the crowd started to surface, the band finally kicked into their set. Playing a curious blend of melodic death metal and hard rock, you wondered why there had been all the fuss at the start as the drum patterns were routine. The band are fronted by the diminutive Kasia Olejnik, whose clean vocals were drowned out in the mix. Her death growls slightly better but with no middle ground in her delivery the result was a switching back and fore which soon became predictable. Having been together for nearly a decade, I’d expected the band to be tighter and slicker than they were. Their material whilst solid was unspectacular with New Life the best of their songs. Possibly gripped by nerves, they were uncomfortable from the start and looked relieved when they finally got off the stage despite being roared on by a sizable following; however, it was no surprise when they didn’t get through to the final.
No rest though and with the heat truly on it was Myst (7) who took to the stage next. Drawing the biggest crowd of the evening by a fair margin, the Bristol based band showed nerves of steel as they delivered a set which oozed confidence. Lead singer Andy Squibbs towers over the front rows, his spiralling narrative in scene setting both inspiring and intimidating. Squibbs is the focal point throughout although with four out of five band members adding backing vocals and assorted death growls, Myst certainly do provide entertainment. With a sound heavy as a bag of anvils but with blues influences in their progressive mix, Myst embraced their set with a sinister darkness. Plenty of underlying groove as well, but throughout it was Squibbs who delivered a Morrison-esque performance. I wasn’t overly keen on their style of music, but the audience lapped it up, the band performed with a swagger that was reasonably enjoyable and it was no surprise when they were announced as one of the finalists later in the evening.
The word on social media is that this year’s M2TM competitions have seen an increase in competitors and quality at the events around the Country (and of course, abroad). Whilst this is certainly true of the South Wales events, it’s hard to know about other regions. So, having seen impressive alumni Embodiment, Mortishead and last year’s bludgeoning Body Harvest emerge from the event across the estuary in recent years, I travelled to Bristol and one of my favourite venues to see what our brothers and sisters from Avon had to offer.
A couple of observations: The guys from Mortishead and Questionable Life Choices run a tight ship. Arriving quarter of an hour before the first band were due to hit the stage, punters were already sporting their wrist bands and sinking a few beers in the warmth of the early evening. Stage times were posted around the venue, which was useful to keep track, and one of the team provided a helpful five-minute warning before the start of each act, ensuring most bands played to a reasonably full room. The larger venue also helps, with plenty of space to see (wide room and elevated stage) and a crystal-clear sound for most of the night meant that you could really enjoy the bands.
With six bands and a guest headliner, it was to the organisers credit that the event stuck virtually to time, with the inevitable gremlins only surfacing towards the end of the penultimate and then final competing band sets.
Opening proceedings, South Walian progressive metallers Trep (9) who I’d heard a lot of good things about. Having formed in 2017, the band has been working hard around the Welsh and South West area and whilst I don’t know the reason why they entered the Bristol event rather than Cardiff, it was soon apparent that they would likely have made it to any final. A superb 30 minutes raced by thanks to their captivating alternative progressive sound. With harmonies to die for, the band maintained a steel in their sound that kept the audience enthralled. Rhys Evans is a softly spoken frontman, but his vocals are startlingly good, clean and fresh, whilst his guitar work is excellent. Alongside him Sam Green’s thumping and adventurous bass lines and his constant wind milling added visual stimulation. His backing vocals and harmonies were fabulous.
Green locked in tightly with drummer Max Hill who kept the simple things simple. Musically, Trep appeal to me with longer songs, intricate passages, subtle time changes and variation to the pace and ferocity. At times letting rip as hard as any other band on the night, although there is much more to their sound. Songs from the Lucian EP and latest release Silence The Crows were well received from a crowd who were unlikely in general to have been rooting for them. Still, quality showed, and the judges made a fine choice in selecting the band for the final.
First delay to the running order came next as Basingstoke based outfit Knoww (5) took forever to set up. If there is one thing that will cause you to lose points with the judges, it’s tardy change overs. Drummer Radoslaw Wojcik wasn’t happy with his drum sound and spent many precious minutes trying to get it to his liking. As frustration in the crowd started to surface, the band finally kicked into their set. Playing a curious blend of melodic death metal and hard rock, you wondered why there had been all the fuss at the start as the drum patterns were routine. The band are fronted by the diminutive Kasia Olejnik, whose clean vocals were drowned out in the mix. Her death growls slightly better but with no middle ground in her delivery the result was a switching back and fore which soon became predictable. Having been together for nearly a decade, I’d expected the band to be tighter and slicker than they were. Their material whilst solid was unspectacular with New Life the best of their songs. Possibly gripped by nerves, they were uncomfortable from the start and looked relieved when they finally got off the stage despite being roared on by a sizable following; however, it was no surprise when they didn’t get through to the final.
No rest though and with the heat truly on it was Myst (7) who took to the stage next. Drawing the biggest crowd of the evening by a fair margin, the Bristol based band showed nerves of steel as they delivered a set which oozed confidence. Lead singer Andy Squibbs towers over the front rows, his spiralling narrative in scene setting both inspiring and intimidating. Squibbs is the focal point throughout although with four out of five band members adding backing vocals and assorted death growls, Myst certainly do provide entertainment. With a sound heavy as a bag of anvils but with blues influences in their progressive mix, Myst embraced their set with a sinister darkness. Plenty of underlying groove as well, but throughout it was Squibbs who delivered a Morrison-esque performance. I wasn’t overly keen on their style of music, but the audience lapped it up, the band performed with a swagger that was reasonably enjoyable and it was no surprise when they were announced as one of the finalists later in the evening.
Band number 4 for the evening was Helldown (7), a four-piece thrash band from Swansea. Again, I’m curious as to why the band entered the Bristol region competition but that’s not my business. Helldown play uncompromising groove thrash which follows in the Pantera mould. Indeed, drummer Ross Thomas’s Vinnie Paul style set up immediately caught the eye as the band kicked off their set. Singer Ben Evans is the focal point, adding his bass thunder to the mix. Flanked by brother Matthew and lead guitarist Lewis Larkman the Welsh boys certainly gave it a good go, their old school sound greeted like a long-lost family member. However, there was also little originality in their set, and whilst old school thrash doesn’t need to be stripped down and reconstructed, there needs to be something to separate it from the others. More adventure in the bass lines would be a brilliant start, as there was little of the Frank Bello style changes that good thrash bands add to their sound whilst I’d also liked to have seen more movement on the stage; the band were statuesque at times. Despite these criticisms, Helldown produced a solid performance but didn’t quite have the quality to carry them into the next round.
As the evening finally arrived and the nation turned its attention to a game of football in Madrid, it was Blacklist (7) who were the penultimate band on stage. A powerful three-piece from Bristol, Blacklist were content to let their music do the talking and they didn’t fail. With driving dynamic bass lines courtesy of Saul Blease who also handled vocal duties, Blacklist played their industrial/electronica rock with aplomb but finished with their strongest song which really should have been up front in the set to hook in the curious observers. By the time they had completed their allotted time the room had emptied substantially and there were not huge numbers giving a deserved round of applause. This was a shame as the band’s brand of alternative rock was perfectly executed and comfortably delivered. Blacklist completed by guitarist Elliot Tottle and drummer Ollie Searle have been together for less than a year and will surely be back to give it another go in 2020. They should be proud of their efforts. There is plenty of potential here.
I’d heard good things about NO:IR UK (6) before they took up the final position for the night’s competition. A slightly wobbly bass sound which first emerged towards the end of Blacklist’s set soon manifested into a total bass amp breakdown which had the potential to derail the Bristolian outfit’s evening. One song in and no bass – cue chaos and much scratching of heads before the hero arrived in the shape of Knoww’s bassist Patryk Kreja with his own amp to save the day. Some humorous ad-libbing from vocalist Sam ‘Evvi’ Davies kept the atmosphere high but this is something that the band should, and will no doubt develop: a plan B for future events. It needs to be said that this is an event that all bands need to have awareness and plan for and NO:IR appeared rather paralysed by it. With their set cut short, they pushed the boundaries with three massively energetic songs, all demonstrating their energetic alternative style as they fused hip hop with progressive elements, nu metal and djent in one almighty explosive meltdown. Imagine Korn meets Gojira and the Beastie Boys and you’ll not go far wrong. This didn’t float my boat, but their enthusiasm and high octane recovery was sufficient to capture the other final spot and well done to them.
Before the finalists were announced, guest headliners Democratus (9) took to the stage in their last show as reigning South Wales champions. The band have proved themselves to be worthy holders of the crown, pushing their music hard over the past 12 months and have been rewarded with several invitations to showcase events. The work doesn’t stop with loads of events in the 2019 calendar and the soon to be released second EP Damnation. We don’t really need to describe the band in detail to regular readers but suffice to say that once more Democratus aced it. Their pumped-up melodic death metal remains fiery and savage with frontman Steve Jenkins expending every ounce of energy in yet another wild and impressive performance. Behind the kit Zac maintains his rock steady powerhouse approach whilst rhythm guitarist Joey, fresh from his “shower incident” looked on fine form. Bassist Stu ‘Spoon’ Rake grins and gurns like a buffoon as usual but has added some beef to the sound with his death growling backing vocals which have really enhanced the band’s sound.
As the evening finally arrived and the nation turned its attention to a game of football in Madrid, it was Blacklist (7) who were the penultimate band on stage. A powerful three-piece from Bristol, Blacklist were content to let their music do the talking and they didn’t fail. With driving dynamic bass lines courtesy of Saul Blease who also handled vocal duties, Blacklist played their industrial/electronica rock with aplomb but finished with their strongest song which really should have been up front in the set to hook in the curious observers. By the time they had completed their allotted time the room had emptied substantially and there were not huge numbers giving a deserved round of applause. This was a shame as the band’s brand of alternative rock was perfectly executed and comfortably delivered. Blacklist completed by guitarist Elliot Tottle and drummer Ollie Searle have been together for less than a year and will surely be back to give it another go in 2020. They should be proud of their efforts. There is plenty of potential here.
I’d heard good things about NO:IR UK (6) before they took up the final position for the night’s competition. A slightly wobbly bass sound which first emerged towards the end of Blacklist’s set soon manifested into a total bass amp breakdown which had the potential to derail the Bristolian outfit’s evening. One song in and no bass – cue chaos and much scratching of heads before the hero arrived in the shape of Knoww’s bassist Patryk Kreja with his own amp to save the day. Some humorous ad-libbing from vocalist Sam ‘Evvi’ Davies kept the atmosphere high but this is something that the band should, and will no doubt develop: a plan B for future events. It needs to be said that this is an event that all bands need to have awareness and plan for and NO:IR appeared rather paralysed by it. With their set cut short, they pushed the boundaries with three massively energetic songs, all demonstrating their energetic alternative style as they fused hip hop with progressive elements, nu metal and djent in one almighty explosive meltdown. Imagine Korn meets Gojira and the Beastie Boys and you’ll not go far wrong. This didn’t float my boat, but their enthusiasm and high octane recovery was sufficient to capture the other final spot and well done to them.
Before the finalists were announced, guest headliners Democratus (9) took to the stage in their last show as reigning South Wales champions. The band have proved themselves to be worthy holders of the crown, pushing their music hard over the past 12 months and have been rewarded with several invitations to showcase events. The work doesn’t stop with loads of events in the 2019 calendar and the soon to be released second EP Damnation. We don’t really need to describe the band in detail to regular readers but suffice to say that once more Democratus aced it. Their pumped-up melodic death metal remains fiery and savage with frontman Steve Jenkins expending every ounce of energy in yet another wild and impressive performance. Behind the kit Zac maintains his rock steady powerhouse approach whilst rhythm guitarist Joey, fresh from his “shower incident” looked on fine form. Bassist Stu ‘Spoon’ Rake grins and gurns like a buffoon as usual but has added some beef to the sound with his death growling backing vocals which have really enhanced the band’s sound.
Star man of the night however was Rich ‘Chaz’ Rees, filling in on lead for the absent Kerrin with aplomb. Not a note wrong. Alongside some of the more established songs, we were also treated to Damnation which is sounding better than ever and new track Divided They Fall which is going to be a grower but has massive potential on first listen. As ever, the wandering Steve during BTK caused some consternation in the crowd; it just makes me laugh now but the ‘fat man’ is certainly a fearsome sight with his aggressive vocals and focused stare for the uninitiated. Closing with the now staple Life For A Lie Democratus succeeded on obtaining a massive roar and Bristol was once again democratised.
Another night of excellence in the world of M2TM and I’m happy to report that the Bristol scene is buzzing. The final on 6th July will now feature Trep, NO:IR UK, Myst, who will join Trayus, Voluntas and Dies Holocaustum as well as a headline set from 2018 winners, the awesome Body Harvest. Unless there is a seismic shift in the planet, I’ll be back to the Exchange for what promises to be another bloody good night.
Another night of excellence in the world of M2TM and I’m happy to report that the Bristol scene is buzzing. The final on 6th July will now feature Trep, NO:IR UK, Myst, who will join Trayus, Voluntas and Dies Holocaustum as well as a headline set from 2018 winners, the awesome Body Harvest. Unless there is a seismic shift in the planet, I’ll be back to the Exchange for what promises to be another bloody good night.
The Spotlight: Bloodstock M2TM Final Interview With King Kraken By Paul H
Interview With M2TM 2019 Final Competitors King Kraken
Few bands have made such an impact on the scene in recent years as the heft wielding beasts King Kraken. Coming through the heat of death on a wildcard slot, the band upped their delivery for the semi-final to earn a final slot. Word on the street is that they will once again bring the Kraken army to rage the war machine at the final. I was able to catch up with the voice of these filthy animals, Mark Donoghue not long after their massive headline show at the Liquid Lounge in Maesteg.
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
KK: We entered the heat not expecting anything by way of qualifying. We just wanted to get our music out there being as King Kraken is still in its infancy with our first gig being September 2018. Since being called as wildcards it has been a bit crazy in a ‘did that really just happen’ kinda way.
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
KK: I like to say an intense explosion of orgasmic elation… But over the moon would probably suffice lol. Hearing our name being called as a wild card made us all feel fantastic, our first reward for all the hard work we’ve put into getting our set together. There was and still is the feeling of ‘ok now we need to up or game’.
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
KK: Practice! Practice! Practice! We changed the set a little too, to include a brand-new tune as the judges and audience would get something a little different. We have been gigging regularly to test out the reactions to the songs to choose the set we wanted for the semi.
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
KK: We have been writing new tunes and recording our latest tune Kidnap as well as feverishly rehearsing our set. On top of this we have been getting in as many gigs as possible.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there?
KK: I think that it actually opened our eyes to the South Wales scene even more. We have made some amazing friends who we have gigged with (Sepulchre, Raptures End, Eulogy) and yet to gig with (Grym, Fallen Temples amongst others). It definitely brings bands together which can expand and create a healthier live music scene.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
KK: We have gained a lot of new support purely from this competition. A lot of people who didn't know about us now do. It had put our name out there.
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
KK: We may be pulling something a little extra out the bag for the final. Something that to date King Kraken has not yet done… But that would be telling lol. More importantly as band we need to deliver the best show we possibly can and improve on what we have already done. I think that's how it is with every gig though. Always strive to be better than before.
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
KK: We are all onstage together to give the judges and crowd a memorable performance. Heat one and the semis were good in already giving us the pressure that we need to deal with. We have to focus on the show and performance itself. Connecting with the audience is extremely important to us. When this happens then the crowd deals with the pressure for us.
Few bands have made such an impact on the scene in recent years as the heft wielding beasts King Kraken. Coming through the heat of death on a wildcard slot, the band upped their delivery for the semi-final to earn a final slot. Word on the street is that they will once again bring the Kraken army to rage the war machine at the final. I was able to catch up with the voice of these filthy animals, Mark Donoghue not long after their massive headline show at the Liquid Lounge in Maesteg.
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
KK: We entered the heat not expecting anything by way of qualifying. We just wanted to get our music out there being as King Kraken is still in its infancy with our first gig being September 2018. Since being called as wildcards it has been a bit crazy in a ‘did that really just happen’ kinda way.
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
KK: I like to say an intense explosion of orgasmic elation… But over the moon would probably suffice lol. Hearing our name being called as a wild card made us all feel fantastic, our first reward for all the hard work we’ve put into getting our set together. There was and still is the feeling of ‘ok now we need to up or game’.
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
KK: Practice! Practice! Practice! We changed the set a little too, to include a brand-new tune as the judges and audience would get something a little different. We have been gigging regularly to test out the reactions to the songs to choose the set we wanted for the semi.
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
KK: We have been writing new tunes and recording our latest tune Kidnap as well as feverishly rehearsing our set. On top of this we have been getting in as many gigs as possible.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there?
KK: I think that it actually opened our eyes to the South Wales scene even more. We have made some amazing friends who we have gigged with (Sepulchre, Raptures End, Eulogy) and yet to gig with (Grym, Fallen Temples amongst others). It definitely brings bands together which can expand and create a healthier live music scene.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
KK: We have gained a lot of new support purely from this competition. A lot of people who didn't know about us now do. It had put our name out there.
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
KK: We may be pulling something a little extra out the bag for the final. Something that to date King Kraken has not yet done… But that would be telling lol. More importantly as band we need to deliver the best show we possibly can and improve on what we have already done. I think that's how it is with every gig though. Always strive to be better than before.
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
KK: We are all onstage together to give the judges and crowd a memorable performance. Heat one and the semis were good in already giving us the pressure that we need to deal with. We have to focus on the show and performance itself. Connecting with the audience is extremely important to us. When this happens then the crowd deals with the pressure for us.
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
KK: After the final it's business as usual. Continue to write, record and play as many gigs possible.
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
KK: Enter with the view that its more about having a blast and getting your music out there. Joining other like-minded bands to showcase your band and build a following. The effort that is put in to prepare for the chance that you actually may play at bloodstock should be the same effort you put into every gig regardless. Do that and people will notice.
Thanks to Mark and Kraken for taking time out. Be sure to catch one of the bands of the year at Fuel on 8th June. The Kraken has awoken and it’s a right feisty bastard.
KK: After the final it's business as usual. Continue to write, record and play as many gigs possible.
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
KK: Enter with the view that its more about having a blast and getting your music out there. Joining other like-minded bands to showcase your band and build a following. The effort that is put in to prepare for the chance that you actually may play at bloodstock should be the same effort you put into every gig regardless. Do that and people will notice.
Thanks to Mark and Kraken for taking time out. Be sure to catch one of the bands of the year at Fuel on 8th June. The Kraken has awoken and it’s a right feisty bastard.
The Spotlight: Bloodstock M2TM Final Interview With Levitas By Paul H
Interview With M2TM 2019 Final Competitors Levitas
They may have been underdogs when they first entered the competition but the post black metal soundscapes of Cardiff/Bristol four-piece Levitas have captured many new fans with their blistering performances in the heat and semi-final. Live, the band can capture the imagination and captivate the listener. I caught up with Rhys just as they announced some new gigs
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
Levitas: Firstly, it's a privilege and an honour to get this far. There's been a lot of really strong bands in each heat and for us to get to this stage is a real eye opener. We entered this competition with an eye to just play in front of a different crowd, there was no real expectation other than to give it our best shot, which we try to do at every show regardless. It’s been a real pleasure to play in front of a lot of friends and fans who’ve come out to support us, to witness some new acts and to go through with a few of the bands that we’re quite friendly with, there’s a real sense of comradery.
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
Levitas: I hadn’t realised how competitive I'd gotten, my zen thing went completely out of the window and I punched myself in the leg :P. The rest of the guys seemed pleased and content.
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
Levitas: As a band I’ve found the competition to have really pushed us. Every band stepping up and pushing themselves is like it’s some kind of musical arms race. For us, we tried to up our stage show, alongside adding in a new track. We’re an atmospheric band so adding the visual counterpart to our music is for me quite important, the blue light and the dry ice really did the trick and our new track caters to a faster more energetic side to Levitas that has up until now been elusive.
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
Levitas: We had quite a big gig with Advent Sorrow, Agrona and Cistvaen, who were all awesome! Aside from that it had been working on our aforementioned improvements.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there?
Levitas: There’s definitely a community there. I think for the range of bands that we have it’s a bit divided by genre which is a bit of a shame, being a bit of an eclectic, I find it’s nice to enjoy the all you can eat musical cuisine as a whole. There are not many gigs around here that you’ll go to these days that’ll have this kind of contrast.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
Levitas: I’ve walked through Fuel a few times on my way to the rest rooms and overheard people saying positive things about our band or passing on compliments to friends which has been really uplifting. We’ve sold half a dozen t-shirts since we started playing M2TM and our Facebook likes have gone up considerably, it’s all good stuff.
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
Levitas: I don’t want to say anything specific lest we give away too much. What I will say is that we have a sort of tiered plan which we’ll execute as we see fit depending on our time constraints. We’re going to play to our strengths and up the game again. This’ll be the biggest show to date, and we intend on putting every resource we have into it. Watch this space...
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
Levitas: With dry ice and misery haha! The only pressure we feel is what we put on ourselves, if we just work on making this the best show we can play for us as a band then that’ll be enough.
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
Levitas: I think regardless of the outcome we’ll be sticking around Fuel and celebrating a bit with everyone who took part and who came out to see us. We’ve got our biggest show to date at the end of the year where we’re opening Atmofest, we’re very much looking forward to working on some new material and using this competition to lay a solid foundation to step up ourselves again for that.
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
Levitas: Push your boundaries and play to your strengths.
Thanks to Levitas for their time. Be sure to envelope yourself in their unique brand of misery at Fuel on 8th June. It’ll make you smile. Honestly.
They may have been underdogs when they first entered the competition but the post black metal soundscapes of Cardiff/Bristol four-piece Levitas have captured many new fans with their blistering performances in the heat and semi-final. Live, the band can capture the imagination and captivate the listener. I caught up with Rhys just as they announced some new gigs
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
Levitas: Firstly, it's a privilege and an honour to get this far. There's been a lot of really strong bands in each heat and for us to get to this stage is a real eye opener. We entered this competition with an eye to just play in front of a different crowd, there was no real expectation other than to give it our best shot, which we try to do at every show regardless. It’s been a real pleasure to play in front of a lot of friends and fans who’ve come out to support us, to witness some new acts and to go through with a few of the bands that we’re quite friendly with, there’s a real sense of comradery.
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
Levitas: I hadn’t realised how competitive I'd gotten, my zen thing went completely out of the window and I punched myself in the leg :P. The rest of the guys seemed pleased and content.
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
Levitas: As a band I’ve found the competition to have really pushed us. Every band stepping up and pushing themselves is like it’s some kind of musical arms race. For us, we tried to up our stage show, alongside adding in a new track. We’re an atmospheric band so adding the visual counterpart to our music is for me quite important, the blue light and the dry ice really did the trick and our new track caters to a faster more energetic side to Levitas that has up until now been elusive.
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
Levitas: We had quite a big gig with Advent Sorrow, Agrona and Cistvaen, who were all awesome! Aside from that it had been working on our aforementioned improvements.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there?
Levitas: There’s definitely a community there. I think for the range of bands that we have it’s a bit divided by genre which is a bit of a shame, being a bit of an eclectic, I find it’s nice to enjoy the all you can eat musical cuisine as a whole. There are not many gigs around here that you’ll go to these days that’ll have this kind of contrast.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
Levitas: I’ve walked through Fuel a few times on my way to the rest rooms and overheard people saying positive things about our band or passing on compliments to friends which has been really uplifting. We’ve sold half a dozen t-shirts since we started playing M2TM and our Facebook likes have gone up considerably, it’s all good stuff.
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
Levitas: I don’t want to say anything specific lest we give away too much. What I will say is that we have a sort of tiered plan which we’ll execute as we see fit depending on our time constraints. We’re going to play to our strengths and up the game again. This’ll be the biggest show to date, and we intend on putting every resource we have into it. Watch this space...
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
Levitas: With dry ice and misery haha! The only pressure we feel is what we put on ourselves, if we just work on making this the best show we can play for us as a band then that’ll be enough.
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
Levitas: I think regardless of the outcome we’ll be sticking around Fuel and celebrating a bit with everyone who took part and who came out to see us. We’ve got our biggest show to date at the end of the year where we’re opening Atmofest, we’re very much looking forward to working on some new material and using this competition to lay a solid foundation to step up ourselves again for that.
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
Levitas: Push your boundaries and play to your strengths.
Thanks to Levitas for their time. Be sure to envelope yourself in their unique brand of misery at Fuel on 8th June. It’ll make you smile. Honestly.
Wednesday, 5 June 2019
Reviews: Goregang, Destroyer Of Light, Eartheater, Neckbeard Deathcamp (Paul S)
Goregang: Neon Graves (Transcending Obscurity)
Goregang are a 2 piece based in Florida, Neon Graves is their first album. The 2 members in question are Jeramie Kling and Taylor Nordberg who both work as audio engineers at Smoke and Mirrors Productions. The album features 12 tracks of old school death metal with maybe a little grind as well. All the tracks are short and blasting, most of the influences for this sort of sound come from 1988 - 1992. So think Entombed, Napalm Death, Massacre, Grave, Death, Carcass etc. Fairly simple death metal riffs that flow and feel like there is a lot of inertia to the music. There is a certain amount of grind and D-beat to this as well, the tracks False Flags and Goregang both have this slightly punky D-beat feeling to them, and the chorus of "Goregang (We are Goregang!)" reminded me a little of Gang Green. This is a sound that also has a lot of thrash in it, the early days of Death Metal had a fair amount of thrash influences, so we get a thrashy beat on Plague Of Hammers, Feeble Minded Rash and Putrid Hammers.
The fast and flowing goes without saying, but there are a lot of slow and achingly heavy parts as well, Neon Graves starts slow and grinding, has a fast section and then goes back to the heavy and slow again, and final track This Era Of The Human has a very slow and heavy ending. The song also contains the only solo on the album! Neon Graves is a lot of fun. It isn’t massively original or groundbreaking, but I don’t think it was meant to be, it was meant to be fun and enjoyable. This reminds me a little of Municipal Waste, not in the sound, but in the attitude, think of this as a Death Metal Art Of Partying and you’re pretty close. This album isn’t new and innovative, but it is massively enjoyable and fun, and there is nothing wrong with that! 7/10
Destroyer Of Light: Mors Aeterna (Argonauta Records)
Destroyer Of Light are a four piece from Austin, Texas, who have been making huge noises since 2012. Mors Aeterna is the band's third album coming two years after their last album Chamber Of Horrors and seven years after their self titled debut. In addition to the 6 long full tracks the album features 4 short instrumentals. Overture Putrefactio is the intro to the album, and is dark and brooding. The Unknown is a short electronic instrumental, Pralaya's Hymn is a piano led instrumental and Into The Abyss is all about the clean guitar. The rest of the tracks are all huge stonery doom tracks, with massive riffs and very good vocals that are packed with personality. This is perfectly shown by the first (proper) track Dissolution, which is packed with fat riffs and is so stonery it made me feel high just listening to it. It has that perfect relaxed tempo, that is essential for stoner doom. This almost perfect stoner tempo is also on the track Falling Star, which is dripping fat, relaxed riffs.
This is also a band that can do massive grooves as well as massive riffs (this album sometimes does both at the same time!). Afterlife has a great groove to it, its impossible to not nod your head to this, and the chorus is fantastic as well. Afterlife also has a massive ending, something it shares with several other tracks. There are some psychedelic elements as well, Loving The Void, and Burning Darkness both have a psychedelic feeling to them that works very well with the huge riffs, really enjoyable. The album is brought to an end by the track Eternal Death, which is probably the darkest track on the album. Slow and incredibly heavy, the song has a tempo that is driving and feels unstoppable. The song also features some chanting, and a very nice piano and violin ending. Mors Aeterna is a fantastic stoner doom album. Well written and played, the riffs get into your head, and it ends up being impossible to get rid of them. I always take that as a sign of a very good album, highly recommended. 8/10
Eartheater: Spirit Ascend (Bloodsoaked Records)
Eartheater are a four piece stoner/doom/sludge band who have been making music since 2014 and this is their second album coming two years after their self titled debut. In doing my research for this review I have found a lot of bands called Eartheater, this one is based in Sweden. The album starts with Lotus Feet which is a massively sludgy instrumental. Huge heavy, and slightly nasty riffs, played to a lazy tempo. Next is the song Man Of The Sea, which is very alternative sludge, the vocals feel angry and harsh, and the overall feeling is nasty. Ritual Pt.2 is a 10 minute beast of a track. it feels less aggressive than the track which proceeded it, and feels more like traditional doom. The middle part of the song is darker and brooding, before it gets really heavy for the ending. Night Flight has the aggressive, alternative feel to it again. There is a punky sense to the song, and a little bit of a Jane's Addiction feel to the middle section.
Final track Spirits Ascend is another long monster of a track. It’s aggressive and sludgy, nasty and alternative. The vocals are angry and anguished, and in places feel quite punky. The track has a softer section in the middle, before a slow and heavy section brings the aggro back. The track finishes in a faster, but more melodic way. Spirit Ascend is a good piece of angry sludgy doom. It’s nasty, it’s aggressive, it’s heavy as anything, it’s quite short. Yeah, that's another thing, this album is 36 minutes in total and nearly five minutes of that is the instrumental intro, that's fairly short for this sort of music, a couple more tracks and it would have felt like more of an album, rather than feeling like an EP. However, what is here is enjoyable, and well played, so I suppose criticising the length is a compliment, I wanted to hear more. 7/10
Neckbeard Deathcamp: So Much For The Tolerant Left (Prosthetic Records)
Neckbeard Deathcamp are a bit of an enigma. Hated by fascists, loved by anarchists, communists and anti-racists. Very little is known about the 2 main members or the live members (Neckbeard Deathcamp are now a live entity) of the band, according to their Bandcamp page they are based in Bordeaux, France, although that is probably just to troll Nazi poster boy Varg, who now lives in France (where he was arrested a couple of years ago for far right terrorism offences). So Much For The Tolerant Left is their second album, the follow up to last years White Nationalism Is For Basement Dwelling Losers. Musically this is war metal, so everything is pushed to ridiculous levels of extremity and savageness. This massively over the top approach to sonic extremity will put a lot of people off, war metal is purposely impenetrable, and difficult. This extreme music, mixed with a political and ethical standpoint that is diametrically apposed to some of the grandee’s of black and war metal elite, has gained the band the tag of ‘Joke band’ to a lot of fans of those Grandees. So, let’s deal with this label first.
Yes, Neckbeard Deathcamp use humour to attack the far right. The cover of Richard Spencer being wedgied by a spiked arm-banded hand is funny. Ok, if you like Richard Spencer it isn’t funny, but then, if you like Richard Spencer enough to be upset by this cover, you probably didn’t have a sense of humour in the first place. Also, song titles like Shitpostnacht, and What Are The Cargo Pockets For Lanza Extra Mags?, are also funny if you aren’t a nazi. However, using humour as a weapon against the far right, is a very well used way of attacking Nazism, just look at Charlie Chaplin’s Film The Great Dictator, Neckbeard Deathcamp are just continuing this tradition is taking the piss out of pathetic Nazi losers.
The accusation that Neckbeard Deathcamp make music that is a joke, is also not really a valid argument. The riffs are simple and brutal, the pacing is insanely fast, and the vocals drip reverb and staggering aggression. Or, to put it another way, it’s war metal. If Neckbeard Deathcamp are a joke, then so are all war metal bands, you can add Revenge and Black Witchery to the ‘Joke’. There are some really great, filthy riffs on here, the aforementioned track What Are the Cargo Pockets For Lanza Extra Mags? has some cracking second wave black metal riffs in it. The opening riff of Bricks Out For Harambe have a blackened grindcore feel to them that is really great. So the riffs are sickening and extreme, whats not to like about that?
Personally I really like the vocals, the reverb makes them sound ridiculously huge, and if people are complaining about that, then that shows an issue with war metal rather than specifically with Neckbeard Deathcamp. Another note about vocals, this album features vocals from Karl Willets of Bolt Thrower and Memoriam, and Denis Boardman of Doom; any other war metal albums have vocals by Extreme Metal royalty? No didn’t think so. This is not an album for the faint hearted (Musically or politically), it’s extreme and nasty, and it really upsets Nazi’s. What more do you want from your war metal? After all, isn’t this sort of extremity meant to upset people? 8/10
Goregang are a 2 piece based in Florida, Neon Graves is their first album. The 2 members in question are Jeramie Kling and Taylor Nordberg who both work as audio engineers at Smoke and Mirrors Productions. The album features 12 tracks of old school death metal with maybe a little grind as well. All the tracks are short and blasting, most of the influences for this sort of sound come from 1988 - 1992. So think Entombed, Napalm Death, Massacre, Grave, Death, Carcass etc. Fairly simple death metal riffs that flow and feel like there is a lot of inertia to the music. There is a certain amount of grind and D-beat to this as well, the tracks False Flags and Goregang both have this slightly punky D-beat feeling to them, and the chorus of "Goregang (We are Goregang!)" reminded me a little of Gang Green. This is a sound that also has a lot of thrash in it, the early days of Death Metal had a fair amount of thrash influences, so we get a thrashy beat on Plague Of Hammers, Feeble Minded Rash and Putrid Hammers.
The fast and flowing goes without saying, but there are a lot of slow and achingly heavy parts as well, Neon Graves starts slow and grinding, has a fast section and then goes back to the heavy and slow again, and final track This Era Of The Human has a very slow and heavy ending. The song also contains the only solo on the album! Neon Graves is a lot of fun. It isn’t massively original or groundbreaking, but I don’t think it was meant to be, it was meant to be fun and enjoyable. This reminds me a little of Municipal Waste, not in the sound, but in the attitude, think of this as a Death Metal Art Of Partying and you’re pretty close. This album isn’t new and innovative, but it is massively enjoyable and fun, and there is nothing wrong with that! 7/10
Destroyer Of Light: Mors Aeterna (Argonauta Records)
Destroyer Of Light are a four piece from Austin, Texas, who have been making huge noises since 2012. Mors Aeterna is the band's third album coming two years after their last album Chamber Of Horrors and seven years after their self titled debut. In addition to the 6 long full tracks the album features 4 short instrumentals. Overture Putrefactio is the intro to the album, and is dark and brooding. The Unknown is a short electronic instrumental, Pralaya's Hymn is a piano led instrumental and Into The Abyss is all about the clean guitar. The rest of the tracks are all huge stonery doom tracks, with massive riffs and very good vocals that are packed with personality. This is perfectly shown by the first (proper) track Dissolution, which is packed with fat riffs and is so stonery it made me feel high just listening to it. It has that perfect relaxed tempo, that is essential for stoner doom. This almost perfect stoner tempo is also on the track Falling Star, which is dripping fat, relaxed riffs.
This is also a band that can do massive grooves as well as massive riffs (this album sometimes does both at the same time!). Afterlife has a great groove to it, its impossible to not nod your head to this, and the chorus is fantastic as well. Afterlife also has a massive ending, something it shares with several other tracks. There are some psychedelic elements as well, Loving The Void, and Burning Darkness both have a psychedelic feeling to them that works very well with the huge riffs, really enjoyable. The album is brought to an end by the track Eternal Death, which is probably the darkest track on the album. Slow and incredibly heavy, the song has a tempo that is driving and feels unstoppable. The song also features some chanting, and a very nice piano and violin ending. Mors Aeterna is a fantastic stoner doom album. Well written and played, the riffs get into your head, and it ends up being impossible to get rid of them. I always take that as a sign of a very good album, highly recommended. 8/10
Eartheater: Spirit Ascend (Bloodsoaked Records)
Eartheater are a four piece stoner/doom/sludge band who have been making music since 2014 and this is their second album coming two years after their self titled debut. In doing my research for this review I have found a lot of bands called Eartheater, this one is based in Sweden. The album starts with Lotus Feet which is a massively sludgy instrumental. Huge heavy, and slightly nasty riffs, played to a lazy tempo. Next is the song Man Of The Sea, which is very alternative sludge, the vocals feel angry and harsh, and the overall feeling is nasty. Ritual Pt.2 is a 10 minute beast of a track. it feels less aggressive than the track which proceeded it, and feels more like traditional doom. The middle part of the song is darker and brooding, before it gets really heavy for the ending. Night Flight has the aggressive, alternative feel to it again. There is a punky sense to the song, and a little bit of a Jane's Addiction feel to the middle section.
Final track Spirits Ascend is another long monster of a track. It’s aggressive and sludgy, nasty and alternative. The vocals are angry and anguished, and in places feel quite punky. The track has a softer section in the middle, before a slow and heavy section brings the aggro back. The track finishes in a faster, but more melodic way. Spirit Ascend is a good piece of angry sludgy doom. It’s nasty, it’s aggressive, it’s heavy as anything, it’s quite short. Yeah, that's another thing, this album is 36 minutes in total and nearly five minutes of that is the instrumental intro, that's fairly short for this sort of music, a couple more tracks and it would have felt like more of an album, rather than feeling like an EP. However, what is here is enjoyable, and well played, so I suppose criticising the length is a compliment, I wanted to hear more. 7/10
Neckbeard Deathcamp: So Much For The Tolerant Left (Prosthetic Records)
Neckbeard Deathcamp are a bit of an enigma. Hated by fascists, loved by anarchists, communists and anti-racists. Very little is known about the 2 main members or the live members (Neckbeard Deathcamp are now a live entity) of the band, according to their Bandcamp page they are based in Bordeaux, France, although that is probably just to troll Nazi poster boy Varg, who now lives in France (where he was arrested a couple of years ago for far right terrorism offences). So Much For The Tolerant Left is their second album, the follow up to last years White Nationalism Is For Basement Dwelling Losers. Musically this is war metal, so everything is pushed to ridiculous levels of extremity and savageness. This massively over the top approach to sonic extremity will put a lot of people off, war metal is purposely impenetrable, and difficult. This extreme music, mixed with a political and ethical standpoint that is diametrically apposed to some of the grandee’s of black and war metal elite, has gained the band the tag of ‘Joke band’ to a lot of fans of those Grandees. So, let’s deal with this label first.
Yes, Neckbeard Deathcamp use humour to attack the far right. The cover of Richard Spencer being wedgied by a spiked arm-banded hand is funny. Ok, if you like Richard Spencer it isn’t funny, but then, if you like Richard Spencer enough to be upset by this cover, you probably didn’t have a sense of humour in the first place. Also, song titles like Shitpostnacht, and What Are The Cargo Pockets For Lanza Extra Mags?, are also funny if you aren’t a nazi. However, using humour as a weapon against the far right, is a very well used way of attacking Nazism, just look at Charlie Chaplin’s Film The Great Dictator, Neckbeard Deathcamp are just continuing this tradition is taking the piss out of pathetic Nazi losers.
The accusation that Neckbeard Deathcamp make music that is a joke, is also not really a valid argument. The riffs are simple and brutal, the pacing is insanely fast, and the vocals drip reverb and staggering aggression. Or, to put it another way, it’s war metal. If Neckbeard Deathcamp are a joke, then so are all war metal bands, you can add Revenge and Black Witchery to the ‘Joke’. There are some really great, filthy riffs on here, the aforementioned track What Are the Cargo Pockets For Lanza Extra Mags? has some cracking second wave black metal riffs in it. The opening riff of Bricks Out For Harambe have a blackened grindcore feel to them that is really great. So the riffs are sickening and extreme, whats not to like about that?
Personally I really like the vocals, the reverb makes them sound ridiculously huge, and if people are complaining about that, then that shows an issue with war metal rather than specifically with Neckbeard Deathcamp. Another note about vocals, this album features vocals from Karl Willets of Bolt Thrower and Memoriam, and Denis Boardman of Doom; any other war metal albums have vocals by Extreme Metal royalty? No didn’t think so. This is not an album for the faint hearted (Musically or politically), it’s extreme and nasty, and it really upsets Nazi’s. What more do you want from your war metal? After all, isn’t this sort of extremity meant to upset people? 8/10
The Spotlight: Bloodstock M2TM Final Interview With In Which It Burns By Paul H
Interview With M2TM 2019 Final Competitors In Which It Burns
Another extremely hard-working band, IWIB are pushing the boundaries for metal in the far West. Their aggressive thrash attack has won admirers every time they launch into their fiery molten metal. I was pleased to get three quarters of the band, Vinny (drums), Mikey (bass) and Stretch (vocals and guitar) able to answer a few questions.
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
Vinny: Been gigging and rehearsing solidly to make sure we are ready for the semis
Stretch: From the very beginning we set out to be the best we could be, and since Vinny’s arrival to the fold we are full steam ahead. Our previous drummer quit the day before we were confirmed for M2TM and we nearly didn’t make it. Vinny has come along, and we are doing what we always wanted, gigging every week, writing new stuff every week, and generally living our music. Getting past the heat was the confirmation to us all that we had landed on our feet.... time now to run!!
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
Mikey: Confusion and a slight bit of disbelief, followed quickly by joy.
Another extremely hard-working band, IWIB are pushing the boundaries for metal in the far West. Their aggressive thrash attack has won admirers every time they launch into their fiery molten metal. I was pleased to get three quarters of the band, Vinny (drums), Mikey (bass) and Stretch (vocals and guitar) able to answer a few questions.
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
Vinny: Been gigging and rehearsing solidly to make sure we are ready for the semis
Stretch: From the very beginning we set out to be the best we could be, and since Vinny’s arrival to the fold we are full steam ahead. Our previous drummer quit the day before we were confirmed for M2TM and we nearly didn’t make it. Vinny has come along, and we are doing what we always wanted, gigging every week, writing new stuff every week, and generally living our music. Getting past the heat was the confirmation to us all that we had landed on our feet.... time now to run!!
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
Mikey: Confusion and a slight bit of disbelief, followed quickly by joy.
Stretch: More emotional than expected. We just took it on like any other gig but to hear our name called came as a bit of a shock!! I mean you want to progress, but to get ahead of so many cool acts to do it?? “We’re not worthy”
Vinny: we ‘kinda weren’t ready for it so when our name was called there was a deep sigh of relief and excitement to progress on in the competition.
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
Mikey: Practise and put in the time
Vinny: We rehearsed, rehearsed and rehearsed despite gigging every weekend and still doing day to day jobs. All we know to do is be ourselves and show that we enjoy what we do and that we are ready to progress in this industry.
Stretch: We didn’t really think about it. We treat each show as important as the one before or after. We give it our all. Only changes we made were to challenge ourselves to be better than the heat. Came off stage covered in sweat and hurting good. So, it was great!! Lol
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
Mikey: Gigs and practice
Stretch: Gigs every weekend followed by five hour practice every Sunday without fail. We’re going wherever there are gigs to play and coming from as far west as we do travel is a big part of it!! So long as we think it will benefit us in some way i.e. future invites or opening doors to other opportunities, distance is no obstacle. And it’s slowly paying off.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there? Mikey-The scene in South East of Wales seems to be getting healthier and more people coming to shows than even two years ago, we're hoping that reaches out West soon.
Stretch: Personally, I have been involved in the scene on and off in one form or another for 20yrs. The scene goes quiet and then picks up. Right now, I feel it’s on the up. The community is there, maybe a little quiet at times but it’s there more than it has been for a while.
Vinny: I feel these shows have really brought out the best in underground metal. All the bands have seriously worked hard towards getting a spot at bloodstock. The crowd that has gathered at these shows are amazing and has shown the community that metal can never die.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
Mikey: Got a few more eyes and ears open in our direction.
Vinny: Well coming from the furthest away has made us slightly the underdogs of the competition, but once we got on that stage people started to listen and take note, which is why we do this.
Stretch: We have made many new friends in bands and fans alike. It’s been an excellent opportunity to sell our ‘brand' to a wider audience and the exposure helps us with the booking of other gigs.
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
Mikey: We'll do what we always do, go up, play and perform our butts off, if the Judge likes it or not will really be down to him.
Stretch: I have no idea what makes us do what we do but when we hit the stage the connection between us is electric. So, we’re gonna do what we always do. Play like it’s our last ever show and we want it to be that one we tell our grandkids about.
Vinny: We are just gonna go there and do our thing and enjoy it. At the end of the day yes, it is his decision but, you can impress him as much as you want. In the end if you’re not what he's looking for then.
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
Stretch: I personally feel that every gig is as important as the last. If you’re only pulling out all the stops cause someone important might be watching your in it for the wrong reason. We will do what we do. We will be the best at what we do because nobody else can be better at what we created. We will be what they are looking for or we won’t. But we will be going 100% with our shit ablaze or we wouldn’t be who we are.
Mikey: Not worry about it, it’s an awesome bill and a great gig to play, going to just enjoy it.
Vinny: We will go there to have fun and make sure the audience has fun listening to the best sound on the planet….... metal.
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
Stretch: Before this we worked hard gigging and practicing and writing, during this we were working hard gigging and practicing and writing. Guess what we’re gonna do after!
Mikey: Fingers crossed the studio, get drummer Vinny on recordings so any new won fans can hear us how we are, not how we were.
Vinny: We just continue what we're doing, gigs, rehearsal, recording.... whatever happens we will never give up
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
Mikey: Don't aim for the moon and miss, work as a team together and bring the best out in each other and master your material.
Stretch: Don’t be a rock star. Don’t be in it to win it. Be in it to be the best you can be. We joined for the gigs ‘cause we knew they would be well supported and we could increase our fan base and gig network. We never joined to compete because we know that nobody can be better at what we created than us, as we cannot be better than others at what they have created. The job to decide who does their creation most credit us up to the judges. Whatever decision they make they are only human and hear their ‘best' bands and vote them. That’s their job. Yours is to be ‘your’ best and enjoy it. Take criticism on the chin. If feel it is valid, change something, if you don’t, don’t. It’s your creation; you know what it’s worth.
Vinny: Enjoy it; soak it all in as remember you will always be in the same boat, so just have a blast.... And practice as much as possible so you can put on an amazing show.
Many thanks to IWIB, a genuinely lovely bunch who would bleed metal if you cut them in half. Let’s hope nothing as messy does occur but with their bone crunching assault, don’t rule anything out.
Vinny: we ‘kinda weren’t ready for it so when our name was called there was a deep sigh of relief and excitement to progress on in the competition.
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
Mikey: Practise and put in the time
Vinny: We rehearsed, rehearsed and rehearsed despite gigging every weekend and still doing day to day jobs. All we know to do is be ourselves and show that we enjoy what we do and that we are ready to progress in this industry.
Stretch: We didn’t really think about it. We treat each show as important as the one before or after. We give it our all. Only changes we made were to challenge ourselves to be better than the heat. Came off stage covered in sweat and hurting good. So, it was great!! Lol
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
Mikey: Gigs and practice
Stretch: Gigs every weekend followed by five hour practice every Sunday without fail. We’re going wherever there are gigs to play and coming from as far west as we do travel is a big part of it!! So long as we think it will benefit us in some way i.e. future invites or opening doors to other opportunities, distance is no obstacle. And it’s slowly paying off.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there? Mikey-The scene in South East of Wales seems to be getting healthier and more people coming to shows than even two years ago, we're hoping that reaches out West soon.
Stretch: Personally, I have been involved in the scene on and off in one form or another for 20yrs. The scene goes quiet and then picks up. Right now, I feel it’s on the up. The community is there, maybe a little quiet at times but it’s there more than it has been for a while.
Vinny: I feel these shows have really brought out the best in underground metal. All the bands have seriously worked hard towards getting a spot at bloodstock. The crowd that has gathered at these shows are amazing and has shown the community that metal can never die.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
Mikey: Got a few more eyes and ears open in our direction.
Vinny: Well coming from the furthest away has made us slightly the underdogs of the competition, but once we got on that stage people started to listen and take note, which is why we do this.
Stretch: We have made many new friends in bands and fans alike. It’s been an excellent opportunity to sell our ‘brand' to a wider audience and the exposure helps us with the booking of other gigs.
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
Mikey: We'll do what we always do, go up, play and perform our butts off, if the Judge likes it or not will really be down to him.
Stretch: I have no idea what makes us do what we do but when we hit the stage the connection between us is electric. So, we’re gonna do what we always do. Play like it’s our last ever show and we want it to be that one we tell our grandkids about.
Vinny: We are just gonna go there and do our thing and enjoy it. At the end of the day yes, it is his decision but, you can impress him as much as you want. In the end if you’re not what he's looking for then.
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
Stretch: I personally feel that every gig is as important as the last. If you’re only pulling out all the stops cause someone important might be watching your in it for the wrong reason. We will do what we do. We will be the best at what we do because nobody else can be better at what we created. We will be what they are looking for or we won’t. But we will be going 100% with our shit ablaze or we wouldn’t be who we are.
Mikey: Not worry about it, it’s an awesome bill and a great gig to play, going to just enjoy it.
Vinny: We will go there to have fun and make sure the audience has fun listening to the best sound on the planet….... metal.
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
Stretch: Before this we worked hard gigging and practicing and writing, during this we were working hard gigging and practicing and writing. Guess what we’re gonna do after!
Mikey: Fingers crossed the studio, get drummer Vinny on recordings so any new won fans can hear us how we are, not how we were.
Vinny: We just continue what we're doing, gigs, rehearsal, recording.... whatever happens we will never give up
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
Mikey: Don't aim for the moon and miss, work as a team together and bring the best out in each other and master your material.
Stretch: Don’t be a rock star. Don’t be in it to win it. Be in it to be the best you can be. We joined for the gigs ‘cause we knew they would be well supported and we could increase our fan base and gig network. We never joined to compete because we know that nobody can be better at what we created than us, as we cannot be better than others at what they have created. The job to decide who does their creation most credit us up to the judges. Whatever decision they make they are only human and hear their ‘best' bands and vote them. That’s their job. Yours is to be ‘your’ best and enjoy it. Take criticism on the chin. If feel it is valid, change something, if you don’t, don’t. It’s your creation; you know what it’s worth.
Vinny: Enjoy it; soak it all in as remember you will always be in the same boat, so just have a blast.... And practice as much as possible so you can put on an amazing show.
Many thanks to IWIB, a genuinely lovely bunch who would bleed metal if you cut them in half. Let’s hope nothing as messy does occur but with their bone crunching assault, don’t rule anything out.
The Spotlight: Bloodstock M2TM Final Interview With Fallen Temples By Paul H
Interview With M2TM 2019 Final Competitors Fallen Temples
Possibly the surprise package of the final, there’s no denying the quality that Fallen Temples possess. Their quality around the South Wales scene is well known, and their hard-edged rock and metal certainly has attracted new supporters. Adam, Joe and Joe are a genuine powerhouse trio, and I caught up with Adam Vaughan [guitar and vocals] to find out more about their road to the M2TM final.
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
Fallen Temples: It’s been heck of a ride! The quality of the bands has been another level, so we genuinely feel honoured to have made it to the final. We really appreciate all the support from fans who have travelled to see us and the new faces who have been kind with their votes
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
Fallen Temples: The wait was almost unbearable as the organisers took to the stage to begin the announcements, but when we heard our name we were so pumped we just wanted to get straight back into the practise room to prepare for the next round
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
Fallen Temples: We knew we couldn’t deliver the same set again, we needed to keep things fresh for those that had been following the competition. It’s clear the level of professionalism has been very high, so we got out the Mr Sheen and just kept polishing until our set felt right
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
Fallen Temples: We’ve been busy! We’ve been into the studio and put down guide tracks for 12 new songs ready to press forward with new releases later in the year. We’ve also got a fresh batch of merch including multiple different style tees, caps, patches, stickers and badges. Some tees have sold out already following a headline show at Kingsfest 2019.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there?
Fallen Temples: If anyone is ever looking for evidence of a scene, these M2TM shows are the proof. Bands are supporting the other bands; gig goers are showing up in droves without an affiliation to any of the bands. Honestly, people leave knowing people they didn't know before the shows, and that’s exactly what the scene needs to build momentum and to grow.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
Fallen Temples: That's certainly the case, we’ve got some shows yet to be announced and we had people come to the final to support us having seen us for the first time in the heat. Playing to a packed room can’t be a negative in any way for a band, so it definitely achieving this goal
Possibly the surprise package of the final, there’s no denying the quality that Fallen Temples possess. Their quality around the South Wales scene is well known, and their hard-edged rock and metal certainly has attracted new supporters. Adam, Joe and Joe are a genuine powerhouse trio, and I caught up with Adam Vaughan [guitar and vocals] to find out more about their road to the M2TM final.
Paul: Let’s start with the journey since you progressed from the Heat. How has it been?
Fallen Temples: It’s been heck of a ride! The quality of the bands has been another level, so we genuinely feel honoured to have made it to the final. We really appreciate all the support from fans who have travelled to see us and the new faces who have been kind with their votes
Paul: Getting through the heat was challenging enough. What were the emotions like after the band’s name was called out on stage?
Fallen Temples: The wait was almost unbearable as the organisers took to the stage to begin the announcements, but when we heard our name we were so pumped we just wanted to get straight back into the practise room to prepare for the next round
Paul: Every band upped their game for the Semi-Final. How did you prepare for the show and what did you feel that you needed to do to get through?
Fallen Temples: We knew we couldn’t deliver the same set again, we needed to keep things fresh for those that had been following the competition. It’s clear the level of professionalism has been very high, so we got out the Mr Sheen and just kept polishing until our set felt right
Paul: You had a bit of time between the heat and the semi-final. What’s been happening to the band in between the two shows at Fuel?
Fallen Temples: We’ve been busy! We’ve been into the studio and put down guide tracks for 12 new songs ready to press forward with new releases later in the year. We’ve also got a fresh batch of merch including multiple different style tees, caps, patches, stickers and badges. Some tees have sold out already following a headline show at Kingsfest 2019.
Paul: There have been hugely positive vibes about the South Wales scene at these shows. Did you feel that it’s a true reflection of how metal in South Wales is at present? Is the community there?
Fallen Temples: If anyone is ever looking for evidence of a scene, these M2TM shows are the proof. Bands are supporting the other bands; gig goers are showing up in droves without an affiliation to any of the bands. Honestly, people leave knowing people they didn't know before the shows, and that’s exactly what the scene needs to build momentum and to grow.
Paul: One of the aims of the M2TM competition is to gain exposure and new fans for the competing bands. How has progressing benefited the band?
Fallen Temples: That's certainly the case, we’ve got some shows yet to be announced and we had people come to the final to support us having seen us for the first time in the heat. Playing to a packed room can’t be a negative in any way for a band, so it definitely achieving this goal
Paul: So, 8th June sees a six-band final on what promises to be an astonishingly good evening. What’s the strategy to impress the Bloodstock judge who makes the decision on the night?
Fallen Temples: We don’t really have a game plan. We play the type of music we play; we love the type of music we play and hopefully our love shows through with the energy, passion and power we put into every show. We just want to give the best account of ourselves each night
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
Fallen Temples: We just need to be confident in what we do, take a deep breath and unleash the dragons. We’ve played some high pressure shows before and that seems to be the only way. Prepare, play with pride and just have fun
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
Fallen Temples: I mentioned earlier we’ve got a multitude of songs to record now so we really want to push forward with new music, new videos and cast out net that bit wider to capitalise on the momentum we have at the moment
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
Fallen Temples: Keeping people on their toes seems be important. A bank of songs to pick from is an asset, slickening the set list as much as possible and generally ‘putting on a show’ will help you to shine in your best light
Paul: Thanks once again for all your support of the website. We wish you every success in the final and beyond. See you on 8th June.
Fallen Temples: Thanks man. We appreciate your time and thanks for your kind words. See you at the final
Fallen Temples: We don’t really have a game plan. We play the type of music we play; we love the type of music we play and hopefully our love shows through with the energy, passion and power we put into every show. We just want to give the best account of ourselves each night
Paul: Rob Bannister or Simon Hall will be judging on the night [probably Rob] They can be notoriously hard to impress and guard that coveted spot zealously. With a full house guaranteed, how will you deal with the pressure?
Fallen Temples: We just need to be confident in what we do, take a deep breath and unleash the dragons. We’ve played some high pressure shows before and that seems to be the only way. Prepare, play with pride and just have fun
Paul: We’ve noted the immediate benefits, what about the post final plans? Where does the band go after the final?
Fallen Temples: I mentioned earlier we’ve got a multitude of songs to record now so we really want to push forward with new music, new videos and cast out net that bit wider to capitalise on the momentum we have at the moment
Paul: And finally, you are now older and wiser about this competition. What advice would you give to the new intake of bands who will be thinking about taking a run at it in 2020?
Fallen Temples: Keeping people on their toes seems be important. A bank of songs to pick from is an asset, slickening the set list as much as possible and generally ‘putting on a show’ will help you to shine in your best light
Paul: Thanks once again for all your support of the website. We wish you every success in the final and beyond. See you on 8th June.
Fallen Temples: Thanks man. We appreciate your time and thanks for your kind words. See you at the final
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