Reviews: Black Star Riders, The Shaking Sensations, RAM, Witch Vomit (Paul H & Paul S)

Black Star Riders: Another State Of Grace (Nuclear Blast) [Paul Hutchings]

I have nothing specifically against BSR. Indeed, we have rated their previous three albums relatively highly in past reviews. I was particularly enamoured by their last release, Heavy Fire, which contained a harder edge than previous releases. And yet, they were one of the most disappointing live bands I’ve seen, and their constant presence at virtually every festival, repetitive touring and inevitable promotion from the classic rock forums has grated for reasons I cannot really explain. Their links with Thin Lizzy is intrinsic, and I think it is that which causes me a lot of the disturbance. Scott Gorham and Ricky Warwick, probably both nice guys, strike me as mercenaries when it comes to the Lizzy legacy, and I find it hard to swallow.

Having said all that, Another State Of Grace isn’t a bad album at all. Relatively short, at 38 minutes and ten songs, it’s three minute plus songs which follow the same blueprint as before. The opening track Tonight The Moonlight Let Me Down is full of melody, Warwick’s distinctive vocals spearheading the song which adds a neat bit of saxophone playing to add breadth to the sound. The title track irritates me with the Celtic flavour repetitive of tracks from previous albums; this is painting by numbers. Ain’t The End Of The World harks back to Bound For Glory, with the riff recycled from that 2013 track. In fact, there is a far amount of repetition here, such is the sound that the band has established. Everything seems a little familiar, even when it isn’t. Polished, solid production and perfectly played, Warwick, Gorham, bassist Robbie Crane are now joined by drummer Chad Szeliga and Stone Sour guitarist Christian Martuzzi.

Underneath The Afterglow at least has a darker edge and some thick keyboards and Soldier In The Ghetto has a Deep Purple flavour to it. I have no doubt that BSR fans will lap this release up, and as I said, it isn’t a bad album. It just doesn’t do anything new. Playing it safe, giving the punters what they want? It’s the way of the world these days and I can’t criticise them too much for doing that. 6/10

The Shaking Sensations: How Are We To Fight The Blight? (Pelagic Records) [Paul Scoble]

The Shaking Sensations are a 5 piece based in Hovedstaden, Denmark. The band have been in existence since 2005, but have only been releasing music since 2010. In that time the band have released 3 albums How Are We To Fight The Blight? comes 6 years after Start Stop Worrying and 8 years after East Of Youth. The band play instrumental form of Post Rock, there is a very obvious similarity to Mono, as well as a less obvious similarity to early eighties New Wave.

All the tracks on this album feature clean guitar riffs, sometimes tremolo picked. The lack of a singer is an issue on a few of the tracks. On most tracks there is a melody lead guitar part filling the gap left by not having a singer, or an extra rhythm guitar part that is melodious enough to take the place of a singer. However not all the tracks have this, the tracks where this is missing end up feeling fairly flat, the listener ends up feeling like they are constantly waiting for something to happen. The tracks feel as if there is something missing, and this is unsatisfying. Don’t get me wrong, the tracks are very well played, everybody involved in this album are clearly great musicians, but several of the tracks need more melody. I should also emphasise that it’s only a problem on certain tracks. Tremendous Efforts has a New Wave feel to it, that is a little reminiscent of The Cure, and has a fantastic melody lead. Sighting is probably the heaviest track on the album, almost heavy enough to be called Doom.

There is loads of melody, and some very interesting tremolo picked riffs. In Dead Silence is slow and delicate, and has some very mellifluous passages. All these tracks have a fantastic musicality to them and are hugely enjoyable, if all the album had been like these tracks, then this would be a 9 out of ten, unfortunately, the tracks that aren’t at the same level as the tracks I have mentioned, drag the album down. End Of Hope is slow, dreary, and to be honest, boring. Final track Arcadia, is another slow and uninspiring track that cries out for more melody. End Of Hope is nearly 10 minutes long as well, thats a long song to have very little melody. How Are We To Fight The Blight? Is a good album that could have been great. This feels like an unfinished album, a missed opportunity. The album lacks the edge that a little bit more melody and nuance could have given it, it could have been a fantastic piece of work. It’s not a bad album, but being this close to greatness and missing is such a shame. 7/10

RAM: The Throne Within (Metal Blade Records) [Paul Hutchings]

Opening an album with a six minute plus track is a brave move, merely because if it isn’t very good then you immediately alienate many of your listeners. RAM have taken that approach and have made it over the wall, demonstrating the power of a mighty old school heavy metal song. The Shadowwork echoes elements of Hell, another band steeped in dark metal, with a gorgeous old school feel to it. The Swedes, who have been plying their trade since 1999 are full of cutting hard rock, with tracks such as Blades Of Betrayal and Fang And Fur hitting all the right heavy metal notes. Whilst it is hard not to refer to their countrymen Grand Magus (who for me along with Judas Priest and Saxon are the classic metal bands of our times), there is enough contained in this album to make it appeal to a wider section of metal fans. Clean vocals, duel guitars, shredding solos and enough pace to keep the songs moving work well. With several albums including 2017’s Rod in the back catalogue, this is a band who would work well in the Sophie Tent at Bloodstock. 6/10

Witch Vomit: Buried Deep In A Bottomless Grave (20 Buck Spin) [Paul Scoble]

Witch Vomit are a Portland, Oregon based four piece. The band have been in existence since 2012, and as you can probably guess from the name, Witch Vomit play nasty, old school Death Metal. This album is the bands second, coming 3 years after their debut, A Scream From The Tomb Below.
The exact style of old school Death Metal is quite influenced by the Swedish sound made popular by (early) Entombed and Dismember, but with a certain amount American influence, particularly from Autopsy. There is also a little bit of the unhinged lunacy you get with very extreme bands like Pissgrave or Drawn And Quartered. So, lots of horrific tremolo picked riffs and screaming solos, and all harsh vocals (although, I bet you’d already worked that out). The tracks From Rotten Guts and Despoilment open the album with some super fast, nasty death metal. Pretty much everything is pushed up to eleven. Fast riffs, nasty vocals, squealing/screaming solos; the usual stuff we expect with this sort of death metal, but done very well, these guys are very proficient at high speed nasty.

The title track Buried Deep In A Bottomless Grave does a beautiful balancing act between fast and ferocious and sickeningly slow and heavy. Dead Veins is closer to being mid-paced, but has a driving, unstoppable feeling that is really enjoyable. To complete the mix of tempo’s Squirming In Misery is horrifically slow and heavy, it slowly batters you into submission. As with most old school Death Metal , this is firmly rooted in the early nineties. It was a great time for death metal, so there's a lot enjoyment to be had from this album. Don’t expect much in the way of subtlety or nuance from Witch Vomit, but if you want extremity, great riffs, nasty vocals and screaming solos; then this is the album for you. Fantastically nasty fun! 8/10

Reviews: Acid Reign, Mgla, PSOTY, Lindsay Schoolcraft (Paul H, Rich & Lee)

Acid Reign: The Age Of Entitlement (Dissonance Productions) [Paul Hutchings]

My hazy memory recollects Acid Reign churning up St David’s Hall in 1988 as support to Nuclear Assault in St David’s Hall in 1988. The UK thrash outfit’s reformation thrilled the old school thrash community in 2013 to the extent that the band now have a cult status. The Age Of Entitlement is their first album since Obnoxious in 1990 and although only vocalist Howard ‘H’ Smith remains from those UK Applecore days, Acid Reign continue to flex their thrash muscles. The Age Of Entitlement captures some of the excitement and intensity of their first EP Moshkinstein but with amended subject matter adding a serious nod to the current changing state of the world; the hideous expectations of instant fame and the yawning chasm that exists between the rich and those at the lower levels of society. Tracks such as The New Low, Hardship and United Hates’ show a maturity and reflection whilst retaining that essential chug. The world has changed substantially since Acid Reign’s first trip around the sun, but there is no doubt that in a world of chaos, a bit of Acid Reign makes it that little bit easier to swallow. 7/10

Mgla: Age Of Excuse (Northern Heritage/No Solace) [Rich Oliver]

Being given the new Mgla album to review posed a dilemma as lets face it Mgla are a controversial band with their alleged political views and associations with unsavory characters. Given this I shall ignore the politics and focus purely on the music seeing as there’s enough shit being flung about with regards to politics right now. Mgla are a band that I have been wanting to check out for a good while now having been told from many of my black metal loving friends that they are one of the best bands in the genre at the moment. Age Of Excuse is the fourth full length album by the Polish duo and manages to meet the high expectations built up by the gushing praise I had heard directed towards the band. Theirs is very much an old school learning style of black metal with definite nods to classic Darkthrone and early Satyricon so the music has a very defined rawness to it.

What did take me by surprise was the amount of melody present throughout though it’s incorporated so well into their sound that it manages to sound raw, melodic and nasty and helps maintain a dark atmosphere throughout the album. Applause must be directed towards frontman/guitarist/bassist M. who performs melodies that are melancholic, forlorn and also grim as hell. The drumming by Darkside must also be commended with his controlled yet savage performance. I kind of did not want to like this album due to the controversy around Mgla but there’s no denying that this is a fantastic black metal album.

From the opening sounds of gnashing teeth on Age Of Excuse I to the climactic finale of Age Of Excuse VI I was absolutely hooked throughout though the jarring nihility of Age Of Excuse III was my personal highlight. I can very much see where the universal praise for Mgla stems from though just hope they get some better political views and nicer friends. 8/10

PSOTY: Sunless (Candlelight Records) [Lee Burgess]

PSOTY are a bleak prospect when it comes to post-metal. Their aptly named album Sunless is a vacuum of stifling tracks. As I’m sure you are aware, I love the non-conformist, un-structured form of this odd little sub-genre and I love it even more when it manages to throw me a curve ball. This curve ball comes in the form of Radiohead style vocals, whining out from haunting, empty melodic tones. This may seem a bit on the negative side, and as I say, it is ultra-bleak, but it’s also a cut above the usual Cult Of Luna wannabe throbbing. PSOTY show a brilliant sense of uniqueness and style in their music. There is real melancholy on show here, a feeling of sadness and loneliness which you could either see as depressing, or atmospheric, or even both. This isn’t for those looking for a bit of violent release, but rather an album to get lost in.

These songs drown us in crushing waves of density and then carry us away on currents before washing us up on desolate alien beaches. As with all good post-metal, there are huge expanses of music that do away with the confines of verse and chorus, but we never feel that this is self-indulgent because the riffs and melodies are tightly controlled and not one second of music is wasted. There are times when this all becomes a bit much, a bit too miserable, but these are few and far between and are remedied by just enough oxygen to let us breathe for just a second. If you are looking for a good dose of smothering darkness, this could be what you’ve been waiting for. 8/10

Lindsay Schoolcraft: Martyr (Self Released) [Lee Burgess]

Right, first things first, I had never heard of Lindsay Schoolcraft before now, and when I looked into this album I wrote it off as just another female fronted borefest trying to compete with the likes of Nightwish, Epica or Lacuna Coil which, if that’s your bag, fair enough. So I paid little attention. Then I listened and listened again. What I discovered is that this is rather retro. It isn’t so much Nightwish as Evanescence. I never saw the problem all these elitists had with Nu Metal, so actually Schoolcraft’s latest collection of hard rocking ditties, Martyr, is rather pleasing to the ear. If you ignore the dodgy mix, which puts a strange distance between the vocals and the music, what you’re left with is a very enjoyable bunch of pop infused bopping songs. 

You could argue that this is all a bit yesterday and simplistic. Some may even say this isn’t genuine metal, but they would be wrong. If like me, you remember the early days of Linkin Park, POD and Alien Ant Farm which for many was entry level metal, then give this a go. It’s easy on the ear and doesn’t ask anything of the listener other than the investment of a bit of headspace while you drive, work or wash dishes, because that’s what this is. It’s sing-along stuff for those days when you just want to get on with life with something playing in the background or just blasting out the window to piss off your whole street. 7/10

A View From The Back Of The Room: Sodomized Cadaver (Live Review By Matt Bladen)

Sodomized Cadaver, Democratus and Sepulchre, Fuel Rock Club

As Mr and Mrs H went minutes from their house for some big stomping heavy rock, I went minutes from my house to the more familiar surroundings of Fuel Rock Club to get a second viewing of those Sodomy spreading boyos who were playing a headline date, in Cardiff's only rock and metal club, fresh from supporting Indian metal pioneers Demonic Resurrection, reviewed by Paul earlier this week. With that performance a tad shambolic, I was hoping that in a headline position they would unleash that extreme metal mayhem that we know they can do.

With work and food in the way, unfortunately Misanthropia and Cerebral Atrophy were missed however we managed to make it in time for Swansea thrash/death act Sepulchre (8) who shot through their setlist in with their normal aplomb. led by Darren's gnarly vocals his and Dan's guitar prowess, as Jimmy and Aimee lay down the solid foundation that has become their trademark. A band who are always on form Sepulchre mixed new and older numbers keeping Move Or Die and Jolly Jane in the set as per, the pits started in earnest with Darren calling for a wall of death early which kicked off all the action for the rest of the night. It's always a pleasure to watch Sepulchre who not only maintain a high level of professionalism on every viewing but also consistently entertain.

Next up it was a bittersweet moment for a lot of us in the crowd as for the last time Democratus (8) took to the stage for the final time with long time lead guitarist Kerrin in tow. This was to be the slimline six stringers final show with Democratus, with Rich Rees taking over from him. He was an integral part of the band during their M2TM 2018 campaign (which of course they won) and featured/mixed recorded their debut EP. However outside factors have come into play and Democratus are gaining more and more steam so there was little chance of Kerrin's departure derailing the metal juggernaut. As usual led by the bellowing voice of Steve, Kerrin and Joey locked into riffs for the final time with Spoon and Zakk the blistering rhythm section. A set featuring all of the their live staples Democratus were as usual playing like their lives depended on it though, the professionalism slipped once or twice due to the emotional nature of the set. As it drew to a close Kerrin was presented with a Pop Vinyl of Bob Ross (he does resemble the painting guru) and it was Life For A Life that closed the show as usual. The band will go on to bigger and better things from here, but Kerrin has left his mark on the bands history.

So next up and with no fanfare of any kind (except a cheer from the masses) Sodomized Cadaver (8) opened up some wounds with their gnarly death metal assault. Now a three piece again Ryan and Charlie share the grunts and screams as they rip out technical playing on guitar and bass respectively, Gavin meanwhile abused the Fuel drumkit (his was still with Demonic Resurrection) as they caused mayhem with tracks such as Bestiality Killed The Cat and the always warmly welcomed Raped By Ebola a song they played twice, so they invited members of the audience on stage to play and sing along with this happy ditty! Ryan seemed a lot more comfortable in Fuel than on the previous evening ripping away at his guitar while grunting down the mic, Gavin meanwhile always has a serious look of concentration on his face while playing, trying to keep this madness together, it's left to Charlie to bring some animation to the stage as he wanders up and down his bass, like a maniac jazz player. Still chaotic yes but as I said much more focussed, back on home turf Sodomized Cadaver return as conquers on a very boozy Friday night.

Reviews: Status Quo, Korn, Grande Royale, Verheerer (Paul H & Matt)

Status Quo: Backbone (earMusic) [Paul Hutchings]

Back in the 1970s Status Quo were big hitters in the world of heavy rock. Multiple high selling albums and singles, sold out tours and a cocaine habit to rival all those around them, the fantastic four dominated. Their sound, dismissed by critics as simplistic, was distinctive and unique. You can recognise a Quo song instantly. It’s not the 1970s anymore though but Quo remains a big favourite, mainly with their fans from that era. The Quo Army is older and possibly not much wiser than those halcyon days of Quo Live from the Glasgow Apollo (still one of the best live albums of all time by the way). Of course, there is always a split of opinion, and there is a large faction for who Quo ceased to exist when Coughlan and Lancaster left the band. The death of Rick Parfitt in 2016 added fuel to that fire, with many stating that the band should have called it a day. But regardless of the doubters, Quo remain and with Francis Rossi at the helm, they have in my humble opinion, every right to continue.

Backbone is album number 33 is the first album without Parfitt. The line-up comprises Rossi, keyboard player Andrew Bown (a member of the band since 1976 – that’s 43 years folks), bassist John ‘Rhino’ Edwards, drummer Leon Cave and 2016 appointed rhythm guitarist Richie Malone. It’s fair to say that things don’t start well. Waiting For A Woman is one of the weaker tracks on the album and the rather slow tempo doesn’t get the pulse going. Maybe a good thing given the age of some of the band and the average age of their fans. However, Cut Me Some Slack is much better, the distinctive guitar riff which opens the track immediately gets the foot tapping and the pace a lot quicker. And from here this is a rather decent album. It’s the Quo at the end of the day, and a band that can now play comfortably alongside Westlife, earn the album of the week on Radio 2 are not going to crush craniums with pulverising riffs. Instead, we get gentle rock and roll which follows the classic formula.

Those three chords are put to good use over 47 minutes and 13 tracks. I See You’re In Some Trouble, Backbone and Better Take Care all work well whilst Get Out of My Time harks back to the pace of Piledriver and Dog Of Two Head. The best track on the album, and one of the best songs they have written for years, this is a stomping rocker which demands you search for the double denim and place those hands on the hips. Sure, there is the odd weak track, but overall Backbone is a quite splendid album which I thoroughly enjoyed. There is still life in the old dog yet and whilst Francis Rossi feels that the band is worth continuing, long may they do so. 8/10

Korn: The Nothing (Roadrunner Records) [Paul Hutchings]

Three years after The Serenity of Suffering, album number 13 from Bakersfield’s Korn finds the band and singer Jonathan Davis in a dark place. Davis’ wife died from an accidental drugs overdose in August 2018 and the emotional hell that Davis has been in since that time has shaped the lyrical content here. Produced once more by Nick Raskulinecz, the instantly recognisable sound of Korn is present from the start, with the angst ridden Cold following the bagpiped lament intro The End Begins. It’s immediately apparent that there is plenty of emotion in this album, Davis’ weeping before the stark electronic riff kicks in to commence Cold. Fieldy’s thumping bass lines and the chopping guitar of Munky and Head contrast with the melody on the chorus, Davis in fine form with his clean vocals and adding the typical rapping nu metal delivery that Korn started way back quarter of a century ago. You’ll Never Find Me sees Korn in familiar territory, a classic style of song with the layered programming, staccato time changes and raging sections segueing into moments of tranquillity, Davis repeatedly calling out “I’m lost, you’ll never find me”.

With the tracks carrying such emotional baggage, this may well have been a rather cathartic process for Korn and Davis in particular. Reading that he recorded all the vocals separately from the rest of the band at the Bakersfield studio makes this album more impressive given the coherence and connectivity that emerges. Finally Free explores the pain and suffering whilst the hurt remains through Can You Hear Me. The Nothing gets stronger in the second half of the album, with Gravity Of Discomfort, H@rd3r and This Loss (which sees some of Davis’ most impressive vocal performance for some time) some of the better more classic Korn style songs. Korn have always attracted a massive following. I’ve always enjoyed them live and rated their last release. This may not reach the heights of that album, but it is still a decent release. If you don’t like the stomp and churn of the band, then this won’t be for you at all but if you like the groove this band produce then you’ll be eager to get involved. 7/10

Grande Royale: Take It Easy (The Sign Records) [Matt Bladen]

Does the world need anymore foot stompin' rock n roll that owes a debt to The Rolling Stones and The Black Crowes? Jangly, bluesy swagger is bolstered by snot-nosed punk and infused with slide playing (Out Of Gas) and some Southern sunshine, it's a combination that has been done before, mainly by Swedish bands come to think of it, Grande Royale are also Swedish so you know that the quality of the music will be high but does it really do anything to stand out in a ever-increasing scene, fusing the sounds of Detroit with their own country's 90's heyday there are glimmers of gold here with Hands Up a pretty good duet, Sweet Livin' is a cracking Southern rock song made for singing back while suppin a Bourbon, Decelerate has a filthy bassline giving a bit of dirt especially when the organ comes in. Take It Easy doesn't take it's own advice with much of the album built on thumping rockers that bring some gospel, soul and even funk on Baby You're A Fool. Will it set the world alight? No in truth however it is a stylish rock n roll record that sticks to it's influences, leading to a very enjoyable listening experience, put on when you've got some buddies round and have a good time. It's only rock roll but I like it. 7/10

Verheerer: Monolith (Vendetta Records) [Matt Bladen]

Verheerer is German/Dutch for Devastator and it's a pretty accurate description of this illusive German five piece, who are led by BST (vocals) and SMN (guitars) have upped the ante with their sophomore album allowing LKS (guitars), KRZ (drums) and MYR (bass) share more of the songwriting duties, they went into this album with idea to strip it back as much as possible and as such this a pretty raw slab of unrepentant black metal. The atmosphere is dark and brooding, the vocals are aggressive and the songs are awash with tremolo fretting and blastbeats, but some may say this isn't pvre black metal as there are a lot of death metal sounds that creep in. This for me is not a problem as I do struggle with the truly cvlt BM bands. Here though there is an interesting balance that keeps your ears keen as the opening title track ominously drags you into Verheerer's void, The Eskapist is a throat riffing BM masterstroke, while He Shall Reap A Thousandfold is a brooding piece marching you mercilessly towards extinction, albeit via some more dramatic mood breaks. Yes folks there are no smiles here just, nasty extreme metal made to abuse rather than entertain. Monolith is an album as daunting as it's title, an unyielding occultist hunk of extremity, not one for your grandmother! 7/10

A View From The Back Of The Room: Fallen Temples (Live Review By Paul Hutchings)

Fallen Temples, Ravenbreed, Who Knows Didley & King Kraken, Newbridge Memo, Newbridge

Whilst many of the South Wales metal fraternity were at Fuel in Cardiff saying their farewells to Democratus guitarist Kerrin Beckwith, the Bloodstock heroes Fallen Temples were pulling out another faultless show in the impressive Barbara Bevan Ballroom at the Newbridge Memo. With a solid support card, this was a quality night for those who like their riffs big and meaty.

As well as the fact that the Memo is a mere 20-minute train journey from where I live, which makes it so easy to get to, it’s also one of the cleanest. Sparkling toilets make a change from the grim of many of the Welsh rock clubs, whilst the beer selection was far superior with bottles of Tomos Watkin and Wye Valley’s lovely Butty Bach amongst the options. As befits a ballroom, plenty of seating and a raised stage in the corner made the setting a stunner.

Having stuffed our chips down (excellent work Conti’s Fish Bar) Mrs H and I arrived to the sounds of Freak which could only mean one thing, the Kraken had woken. It’s been hell of a year for King Kraken (8) and it’s been a couple of months since I last saw the Bloodstock finalists. Confident, assured and fresh from a stunning 3rd place in the Hard Rock Hell Highway to Hell event in Sheffield the week before, the band were on top form. Cohesive and tight, they powered through a set of old classics and fresh new songs, with The Grey particularly pleasing. The engine room of the band has always been in synch, but tonight rhythm guitarist Pete Rose, bassist Karl Meyers and drummer Richard Lee Mears had it totally locked down. As usual, this allowed vocalist Mark Donoghue to prowl centre stage, roaring out the anthems and dealing with a couple of microphone issues with ease and a look which said it all. With their songs hitting the epic heights, all that was left was for guitarist Adam Kowalski Healey to show his chops. His fluid playing has always been impressive and tonight he once again looked like the guitar was an extension of his body with some superb solos. Always fantastic to watch, the Kraken show no signs of fatigue on their increasingly exciting journey.

Who Knows Didley? (8) is a band who we’ve reviewed a fair few times in recent months. They’ve been a bit hit and miss in terms of consistency but having ridden the storm of line-up changes in recent months, they now appear settled and intent on delivering their own brand of hard rock which slotted in neatly on the night. Bassist Glyn Mason is now part of the furniture, but star of the show was drummer Craig Wilmott, two weeks into the role and owning it like a boss. You’d never have twigged he’s so new to the band. Vocalist Paul Matthews continues to blossom, his delivery improving every time I see him, and his stage presence is infectious. Alongside Matthews, guitarist Gareth Allford was unassuming but confidently delivered all the riffs, killer solos and some superb harmonies (along with Mason) which really added to the band’s sound. A solid set got the audience involved, with an attempted sing-along brave but ultimately ill-advised, mainly due to the one disappointment on the night, the muddy sound which rendered much of the banter indecipherable and muffled most of the bands throughout the evening. Like the Kraken before them, the lads from Pontypool are getting better with every viewing and it’ll be interesting to see them at the Stadium Rocks gig in Cwmbran in October to see how they do.

Penultimate band of the night and a new viewing for Mrs H and me as Cardiff four-piece Ravenbreed (9) stomped a huge hole in the venue with their ferocious riff heavy set. Led by the impressive Zoey Emilia Allen, the band (Mikey Watkins -guitar, Ross Formosa - bass, Oli Watkins – drums; at least according to their Facebook details so update your social media if it’s wrong!) made a huge impression with their energy, power and total commitment. Mixing tracks from 2018’s EP Hollowed with a new track or two, including their new single with the interesting additional guest rap vocals which the band has been teasing about on their social media for the last few weeks. I know that Ravenbreed have been making a big splash in the South Wales hard rock scene in recent months and with a much wider span of gigs across the UK I wouldn’t be at all surprised if they are soon a much more well-known outfit. A super band to watch and listen to, if you get the chance then make sure you catch them.

There’s little to be said these days that I haven’t already written about Fallen Temples (9). They impress every time I see them, increasing the quality and confidence in performance at each show. This was no different, with Touching The Void, Phoenix and Cut The Wire all hitting hard in the first few numbers. Whilst the audience had thinned slightly by the time that they hit the stage shortly after 10pm, Temples played the gig as they always do, as if it was their last, with a ferocity that is admirable and a style that just says ‘class’. Three times I’ve seen them in the last month, and each gig has been unique. This one allowed them to kick back and hone their craft a little bit more, as they, like Didley are heading to Cwmbran for a huge gig with Skindred at the end of October. Little else needs to be written. For me, Fallen Temples are one of the most exciting bands in South Wales now and with the promise of new music and some super shows coming soon, it’s a good time to be watching them and the other bands on this bill. A superb night, massive thanks to all who helped to organise it. Let’s do it again … soon!

Reviews: Sonata Arctica, Winter Storm, Kris Barras, Toxic Holocaust (Reviews By Paul H, Rich)

Sonata Arctica: Talviyö (Nuclear Blast) [Rich Oliver]

Having a huge appreciation of power metal Sonata Arctica are a band I used to enjoy massively but in recent years have fallen out of favour. The last few albums they have done have been completely underwhelming with the last album of theirs I remember enjoying being 2009’s The Days Of Grays. Unfortunately Talviyö which is the ninth album by the Finnish power metal titans continues in the same trend as their more recent releases and it is a bit of a slog of an album to get through. Sonata Arctica seem to be stuck in a bit of a rut soundwise. Their is a far bigger incorporation of other influences into their power metal sound with elements of progressive metal, AOR, pop and alternative rock found throughout but this eclectic feel doesn’t help the lacklustre feel of the songwriting itself. The melodies are very nice and the playing is very good but it is just so damn safe and forgettable with every song either mid paced or slow. Things get off to a promising start with Message From The Sun which has elements of the Sonata Arctica of old but then things start sinking with Whirlwind which although heavily leaning on the progressive side of things just never seems to get off the ground.

This lacklustre feel permeates the majority of the album and it sounds like the band isn’t even really trying. Gone is the passion and intensity of albums like Silence and Winterheart’s Guild and instead we have flat uninspiring songs such as Cold and The Garden. There are some good songs scattered here and there such as the more power metal leaning Demon’s Cage and the psychedelic and exotic sounds of instrumental Ismo’s Got Good Reactors. Talviyö is another in a string of disappointing releases from Sonata Arctica. It’s not a complete disaster of a release sounding pleasant enough and is perfectly listenable as background music but an old school fan like me can’t help but feel underwhelmed by what feels and sounds like a phoned in album. Come on Sonata Arctica we know you can do better. If you excuse me I’ll be listening to Ecliptica. 5/10

Winter Storm: Relapse Of Time (Self Released) [Paul Hutchings]

I remember being impressed by Winter Storm when I saw them at Hard Rock Metal in Birmingham a couple of years ago. Honest, powerful and compelling to watch. After a short break the band return with their third full length album, Relapse In Time, which follows on from the story that began with their second album Within The Frozen Design. Full of dramatic symphonic elements, sterling guitar work and the deep, soaring vocals of front woman Hannah Fieldhouse as well as the solid drumming of new man Nathan Hutchins. Whilst the album follows the concept, each track also stands on its own making this an enjoyable release to listen to.

The band have mixed their sound up somewhat since I last saw them, with choppy time changes and a more aggressive and dark approach providing separation from the mainstream bands. Defy Me and Astral World both have something a little bit extra, with a heady mix of melodic keyboards and almost thrash level seven string guitar duelling in layers of engagement. Winter Storm have produced 43 minutes of the epic style of heavy metal that we wanted. Epic and at times majestic, Relapse Of Time sits alongside Control The Storm’s Forevermore as one of the UK’s quality symphonic metal releases of 2019. 8/10

Kris Barras Band: Light It Up (Mascot Records) [Paul Hutchings]

Voted the best new band at the Planet Rock 2018 awards, it’s no coincidence that album number four from the former martial artist focuses on big singalong choruses, catchy hooks and pleasant inoffensive radio friendly songs. Nothing wrong with that of course. Barras’ star has been in the ascendency big time in recent months, with the man and his band moving from venues like Fuel to the Fleece in a matter of months; selling out 500 capacity venues is no mean feat and the UK blues singer/guitarist has worked incredibly hard. The man has gigged everywhere he can, festivals to support slots; all this as well as fronting up the Supersonic Blues Machine too. Guitar wise, the man can play, and he can also sing well.

Light It Up sticks to the formula which has worked so well, and his blend of rock, blues and country will appeal to a mass audience. I’m impressed with the thick luscious keys of Josiah J Manning throughout this album, alongside the solid rhythm section of Elliott Blacker on bass and Will Beavis on drums. There’s little to really stir the soul here though, with the classic rock blueprint slavishly followed to the letter. Barras will no doubt be a huge star soon. He’s found a market and is exploiting it to the full. Good for him. Slick, polished and perfectly enjoyable, Light It Up offers limited genuine excitement. 6/10

Toxic Holocaust: Primal Future (eOne) [Paul Hutchings]

The first album for six years from the Portland thrash outfit and they roar back with a feisty slab which showcases the talent of founder member Joel Grind alongside newly recruited drummer Tyler Beech and guitarist Eric Eisenhauer, though Grind plays everything on this album. The band are certainly making up for lost time with this album, cramming ten tasty slabs of thrashing goodness into 40 minutes. It may not be ground-breaking, but it does bode well for their forthcoming European tour with Municipal Waste. Black Out The Code will incite the pits across the UK, and the band is tight and ferocious throughout. Catch the chugging of New World Beyond, marvel at the speed on Time’s Edge and enjoy the thumping title track, all of which would sit comfortably on any decent thrash album. Stoically following their own path since 1999, Toxic Holocaust have delivered another solid release well worth listening to. 7/10

Reviews: Cold In Berlin, Mars Red Sky, Orm, Fretless (Matt, Val & Rich)

Cold In Berlin: Rituals Of Surrender (New Heavy Sounds) [Matt Bladen]

Ominous, ritualistic, bewitching. Three words that can be attributed to London doom crew Cold In Berlin, who like a winter in Germany's capital, have a chill running through their music built upon their noisy downtuned, gothic doom riffs and mesmerising vocals that evoke both the spiritual and the sexual nature of the lyrics. I wasn't sure what to expect when I pressed play here but as the album opened with The Power we get brought straight into the warped world of Cold In Berlin the riffs grind with a discordant almost drone sound adding layers of density to the songs. Imagine Electric Wizard fronted by Blood Ceremony's Alia O'Brien and you'll be a little more in the know as to what to expect from this album. I'm a doom fan and the woozy heavyweight riffs are always welcome at my house, but Cold In Berlin aren't a one trick pony.

On Dark Days there is a touch of Jefferson Airplane, though this is to do with Maya's vocals which are an integral part of Cold In Berlin's strength as a a band, they are bellowed and echoed embodying every lyric on this album. However the brilliance of Maya's voice does mean that you may not concentrate as much on the excellent musical backing from Adam (guitar), Lawrence (bass) Alex (drums). Yes there are a lot of fuzzy riffs but also industrial blobs on Avalanche which has the repeating chants of "Bury Me" to ramp up the occult elements, which continue on Monsters. There's a primordial sound to this album, monolithian, mountain shaking riffs are merged with romantic goth, ghostly post-punk and lots of cinematic drama. Rituals Of Surrender is an album that draws you in to it's incense burning mystique before a baseball bat from the shadow clobbers you senseless, you will enjoy it I promise you. 8/10

Mars Red Sky: The Task Eternal (Listenable Records) [Matt Bladen]

Three years removed from their last space odyssey French psych rockers Mars Red Sky return with their new album that once again fires up the shuttle engines and launches them skyward towards distant galaxies. This fourth album is possibly their darkest yet, painting a picture with some Sabbath inspired riffs and twisted lyricism on Collector especially but all the while retaining their psych pop leanings still enveloping the fuzzy riffs. Mars Red Sky are a trio featuring Julien Pras, providing the hypnotic, dreamy vocals and six stringing, while the groove machines at the back are Jimmy Kinast (bass) and Matgaz (drums) who on Recast know when to let a track breathe as it builds up into a crunching instrumental which segues seamlessly into Reacts that evolves into a thick heavy doom riff. On the other end of the spectrum however the final track A Far Cry is an strummed acoustic folk instrumental that eases you back to earth with it's dreamy soundscape that reminds me of ambient Porcupine Tree. The Task Eternal rings out with more mind bending psych rock, grab a ride on these Frenchman's rocket ride and take to the skies. 7/10

Orm: Ir (Indisciplinarian) [Val D'Arcy]

Being previously unfamiliar with this band at the point of picking up Ir, the first thing that struck me (and caused some degree of eye rolling) was the track-list. Two tracks clocking in at twenty three and twenty four minutes respectively. My immediate thought was, this had better be bloody good. Indeed, for the first ten minutes or so I was not disappointed in the slightest. The opening segments are a brilliantly executed mix of traditional and contemporary, cold black metal. It does well to conjure images of winter and desolation synonymous with the slightly odd album cover. The cover pictures a scene of people seemingly ice skating on a frozen lake set in a forest. Tremolo-picked riffs, blast beats and overlapping vocal tracks combining growls and shrieks, all staple ingredients for some great, albeit at times predictable black metal soup.

Before long, as we approach the half way mark in the opener, the ferocity subsides, cue the first of the post-black appearances. Brass instruments, eurgh. That said, it sounds alright, I'd almost go as far as saying it fits; I'd add to say, that is said speaking in the context of what is clearly a concept album. Generally speaking I'm not a fan of post anything, let alone black metal which, in itself provides a vast enough canvas to create original work without having to forcibly over think when it comes to creativity. It's not the first time of course that brass has been used in black metal, I'm thinking White Ward, Tchornobog to name a couple. Nor is the basic phenomenon of using overtly non-metal instruments in black metal. Taake's use of a Banjo on their cover of the soundtrack to Mario Kart 64's Moo-Moo Farm was quite brilliant. That notwithstanding its not something I'd advocate on principle.

The song eventually diverts again onto a more prog path with an acoustic, Opeth-esque passage that does equally little to return my eyes to a level position. But then almost in an instant, we're back with some deliciously heavy, almost black-n-roll riffs at the twelve minute mark which are so good, they all but make up for the indiscretions of the previous minutes. The second track, I really struggled with. I've been listening to this damn song for three days and it's like having a conversation with someone you've just met that you're really making an effort to get on with, but they just don't let you in. It has an obscure, incoherence about it which, is either meant to bewilder (successfully) or is just too sophisticated for my plebeian palette. There are some great melodies in this track and the vocals are beautifully manipulated to compliment the frequent mood swings in the music, but for me it was a lot of quite interesting (and sometimes fascinating) pieces of a jigsaw puzzle which, I, in the end gave up trying to complete and put back in the box. However, if concept albums are meant to do anything it is to challenge the listener, to step outside of your two musical dimensions. To compel you to uncover and confront a deeper reaction on an emotional level. This record certainly did that and despite our differences, I've enjoyed our time together. We may not see each other again for a little while, but I'm certain in time, we will. 7/10

Fretless: Damnation (Pure Steel Records) [Rich Oliver]

Damnation is the second album from Swedish hard rockers Fretless. The band has been on a bit of a hiatus with their debut album Local Heroes being released back in 2011. Fretless are a band that show plenty of promise but not much of that promise is met on Damnation. Essentially a hard rock outfit Fretless are also massively influenced by classic heavy metal with clear influences from NWOBHM and the German metal movements with a huge influence evident throughout from Accept. There are some nice riffs and tasty solos here and there but the songs failed to get much of an enthusiastic response from me being underdeveloped and uninteresting whilst the vocals by Patte Carlson are grating sounding like a bad mix of Bruce Dickinson and Udo Dirkschneider lacking the personality and charisma of both those vocalists. Damnation does have some good moments with the hammond organ led Burn and the aggressive No More being stand out songs but overall this album didn’t do much for me. 5/10

Reviews: Freedom Call, Godeater, Tenebrae In Perpetuum, Culted (Paul H)

Freedom Call: M.E.T.A.L. (SPV-Steamhammer)

Few embrace the ethos of power metal like Germany’s Freedom Call. Having stumbled across them at Bloodstock in 2012, where their complete cheese filled metal was a joy to behold, their music has continued to delight and irritate in equal measure. 12 albums into their career, and M.E.T.A.L is their tenth studio release. Featuring two new members in bassist Francesco Ferraro and drummer Timmi Briedeband who join founder member Chris Bay and long serving guitarist Lars Rettkowitz this latest album is once again equally awful and splendid. Tracks such as The Ace Of The Unicorn and 111 -The Number Of The Angels are dreadful, the former amongst the worst power metal songs I’ve ever heard. On the plus side, anthemic soaring and glorious tunes like Sail Away and the title track are just epic in their delivery. 

Forever a poor man’s Helloween, Freedom Call clearly fill a market, especially in their homeland. It’s power metal by numbers, following a standard which blends lightweight metal with a sense of Eurovision into a style which relies on high pitched harmonies, fast paced guitar riffing and flat out drumming and some of the most ridiculous lyrics you’ve ever heard. Polished, smooth and extremely competent, the only thing to dislike is the fromage induced coma which you may suffer as a result of prolonged exposure. Freedom Call are hilarious, but their heart is certainly in the right place. If you love your power metal with every box on the template ticked, then M.E.T.A.L will be another album for you. If you live for black and death metal, steer away from this at all costs. 7/10

Godeater: All Flesh Is Grass (Self Released)

Glaswegians Godeater’s debut release combines technically ability with brutal viciousness which belies the band’s status as a vegetarian and vegan outfit. I say belies it due to the amount of meaty metaphors screaming to be let loose on this intense debut. Looking at one of Planet Earth's most pressing issues: climate change and its associated effects, the album opens with the track Anoxia and closes with a parting shot on the end of humanity in the ferocious Blood Moon. A combination of brutes such as Decapitated, Between the Buried and Me at their heaviest and The Black Dahlia Murder, there is much to absorb here. Comparisons inevitably drawn with other behemoths such as Cattle Decapitation and Gojira are in no way undeserved, such is the band’s approach and intensity. With several tours under their belt and an Autumn stint with Harbinger, as well as slot at the prestigious Damnation Festival, 2019 is shaping to be a massive year for the Scots and on this demonstration, well-deserved. 7/10

Tenebrae In Perpetuum: Anorexia Obscura (Debemur Morti)

A return from the grave for Italian Black Metal duo Tenebrae in Perpetuum, who headed into oblivion in 2010. Album number four, Anorexia Obscura sees not only the return of the band but vocalist Atratus handling electronics, guitar and bass alongside drummer Chimsicrin. Dissonanze Mentali immediately summons the 1980s with a primitive production style. Frantic blast beats, tremolo riffing and harrowing screams cast the mind back once more to the early rumblings from Scandinavian forests. Delivered completely in Italian this is an album designed for the underground. The production is suitably muddy, the musical style primordial Black Metal and strictly for connoisseurs. 

The title track is a curved ball with a totally different tempo and style, with the electronics more prevalent. The darkness soon returns on L’epoa oscura del caos, (The Dark Age Of Chaos) which is features a disturbing riff and equally unnerving vocals. The use of fade is welcome, an older tool rarely used these days but allowing the atmospherics of the track to slowly drift from the mind. The Italians also intersperse their intense efforts with interesting electronic effects, repetitive tones and beeps which pepper the songs, such as the haunting Nero oscuro concetto di assoluto. Seven tracks and 40 minutes, with the use of silence between songs allowing time for reflection, absorption and complete bewilderment. Such is the effect of this worm-ridden release. 6/10

Culted: Vespertina Synaxis – A Prayer For Union And Emptiness (Self Released)

Linked by technology, vocalist Daniel Jansson has apparently never met his Canadian based band mates since the band formed in 2007. This is the band’s third release, following on from 2014’s Oblique To All Paths. This is a three-track album/EP, with the opening atmospheric ambient noise piece segueing to the first of two lengthy songs. Dirt Black Chalice shakes up the foundations with a kaleidoscopic merger of several genres to provide one massive, riff heavy beast of a track. Jansson’s roar impresses, whilst the thick thundering doom and black metal merge perfectly. The concluding track, at over 12 minutes in length, is called A Prayer For Emptiness and starts with a low tone, before some industrial crunching noises echo menacingly in the background which continue with solitary down tuned chords struck with melancholic feel. As the track slowly builds, the volume and intensity increases, creating an almost hypnotic vibe. I struggle to get completely immersed in this, with the drone style not really interesting me. It’s certainly complex, but overall leaves me a little nonplussed by the whole thing. 5/10

A View From The Back Of The Room: Demonic Resurrection (Live Review By Paul Hutchings)

Demonic Resurrection, Sodomized Cadaver & Harbour Way – The Bunkhouse Bar, Swansea

The penultimate gig on the Indian death metal legends Davashtar II UK tour. A tour that has seen the band bash across the UK, from Warhorns to Manchester, Newcastle to Plymouth on a run of nine dates which has seen small but enthusiastic crowds roar their support.

This was a first visit to the Bunkhouse, and I was impressed. With the live room spacious and not challenged by ill placed toilets or elongated shape, a decent sound throughout the evening, and a separate bar, seating area and pool table, the Bunkhouse is another to add to the solid number of venues growing in the South West.

Port Talbot’s Harbour Way (5) were first up. Opening on a night with a small crowd is always hard and the trio handled it well. A little loose, they played an entertaining enough 30 minutes. Their sludgy stoner sound was an odd choice for an evening of death metal, but the band have some promise if they can sort a few things out. Guitarist and lead vocalist Morgan Davies is limited vocally, the demands of the vocals seemingly impacting on the level of attention he can give his guitar playing. Drummer Toby Powell is enthusiastic and with time will be able to hone his craft to the levels of those that followed him. The mix of clean and roaring vocals between Davies and Morgan John (bass) also didn’t always quite work but these are things that can be ironed out. With original material, there is potential.

Sodomised Cadaver (7) need no introduction on these pages. A traditionally chaotic set saw some of the most ridiculous pits seen for ages, as the death metal outfit bludgeoned their way through their set. As usual, banter remains high on the agenda, the Welsh lads mocking each other and the crowd in a playful way throughout. Ryan Howes and Charlie Rogers handling vocals with their typical gurning visages set at maximum whilst drummer Gavin Davies pounded on the drums like he’d just caught it in bed with his missus. Sodo can be ropey at times, and having conquered parts of Europe during the summer, there were a few slips along the way, not to mention Charlie’s minor trip during the set which he laughed off. He almost ended up sat on Gav’s lap and no one wants to pay to see that! A shambolic ending summed up their set, as Gav finished and strolled off stage, leaving Ryan and Charlie still up there and much heckling from the audience. It was fun.

Demonic Resurrection (9) are one of the metal world’s treasures. Rolling into their third decade in 2020, the Mumbai band led by the lovable Demonstealer (Sahil Makhija) are a must see for me whenever they arrive on these shores. They love the UK (in-joke there) and it shows. Demonstealer and lead guitarist Nishith Hegde were ably assisted by two stunning musicians, Formicarius bassist Simon McAuliffe who played a blinder and powerhouse drummer Rodion Belshevits who was simply stunning with his blast beats and overall delivery. A set that was similar to their brilliant Bloodstock 2018 show flew by, with the riffing intense, the drumming ferocious and Demonstealer’s confident and easy ability to switch between growls and the cleaner vocals as always impressive.

Despite the attentions of one of the more inebriated members of the audience being right in the face, Demonstealer cracked joke after joke about the current Brexit situation as Demonic Resurrection delivered a powerful masterclass in melodic death metal. The Unrelenting Surge Of Vengeance, Krishna: The Cowherd and The Demon King were all devoured by the enthusiastic audience. I’ve written before that few can appreciate how much this band struggles with issues that we take from granted. There was a time when Demonic Resurrection were due to disappear. For now, the band remains on the scene, and our global metal world is a much better place for it.

A View From The Back Of The Room: Skunk Anansie (Live Review By Paul Hutchings)

Skunk Anansie, The Great Hall, Cardiff University

It’s been ten years since Skunk Anansie (9) played in Cardiff (although according to Setlist.FM it’s more like 23 years). “Looks like you fucking missed us” beams a vibrant Skin, surveying the adoring masses in front of her. And I mean adoring. Few bands get such feverish support, with their UK dates guaranteed to sell out every time. 25 years in the making, this gig was the culmination of the band’s 25th anniversary tour. 25 years since the four-piece from London burst onto the scene with their intense brand of hard punk edged rock and that immense debut Paranoid & Sunburnt, an album so good that no fewer than six tracks from the lengthy set list were pulled from it. Few bands pull such a varied audience either, with a fair number of metal heads swelling the more mainstream majority.

I last saw Skunk play in Bristol in May 2017, supporting their superb Anarchytecture album. You can read my review here http://musipediaofmetal.blogspot.com/2017/05/a-view-from-back-of-room-skunk-anansie.html Suffice to say, nothing has changed with the band (Deborah ‘Skin’ Dyer, Martin ‘Ace’ Kent, Richard ‘Cass’ Lewis and Mark Richardson) once more pulling out all the stops in a fast-aced two hour show which wowed the rabid audience. Pure energy surges through this band, their lust for live performances evident in the power that they deliver in every show. This was the final show on their UK tour, although the band have a couple more dates to complete in Europe to wrap up the 25Live@25 tour which started back in June and has seen them traverse across mainland Europe and the summer festival circuit. And whilst they are phenomenally entertaining to watch, underneath the simmering resentment and outrage towards social injustice, sexism and racism which has fuelled the band all these years continues to boil. Two new tracks, This Is War and What You Do For Love demonstrated that the fire still burns deep.

Skunk have utilised the talents of Erika Footman to support the band’s sound in recent years, her backing vocals, keyboards and percussion adding depth whilst her infectious enthusiasm on stage was a joy to watch. Encouraged to escape the safety of the keyboard, she joined Skin, Ace and Cass front and centre several times during the set, encouraging the audience who needed little invitation. I’ve written before about how cohesive a unit Skunk are, and once more they were almost telepathic in their connectivity. Meanwhile, it was all about Skin. Entering in a crazy foil jacket with hood as the band kicked off the evening with a raucous Charlie Big Potato, she soon shed the outfits and fist pumped, clapped and roared her way through yet another incredible performance. Regular forays into the pit with her crowd surfing started early; indeed, it was either All In The Name Of Pity or I Can Dream that saw the first of numerous leaps from the stage. A blinding light show, and decent sound all enhanced the evening further. It wouldn’t have been a Skunk show without some hard-hitting words and Skin took the opportunity to remind us that the battle for equality remains, with her incredulity at the current political farce receiving a roar of approval.

As for the set list, well, we got a full range of old classics as well as more recent tunes and of course, the two brand new tracks previously mentioned. Skunk have it all. The power of Intellectualise My Blackness, Yes, It’s Fucking Political and Tear The Place Up were balanced by moments of sheer beauty. Weak was tear inducing, Hedonism (Just Because You Feel Good) had the full Cardiff choir participation and Charity cooled the temperature with its delicate delivery. A brief cover of Highway To Hell allowed Skin to introduce the band before her final dive into the pit and a momentous Little Baby Swastika concluded a hot and thoroughly fantastic evening for the capacity crowd.

Opening the evening had been the Nova Twins (7), a two-piece from South East London. Amy Love (guitar and vocals) and Georgia South (bass and backing vocals) were accompanied by a drummer but showed massive cojones to get up and warm the ever-increasing audience. Their fiery cross of punk, rock, rap and distortion slowly grew on the swelling crowd, and their sheer enthusiasm and energy just made me feel every one of my 49 years. With a massive ovation, I’d be unsurprised to see these girls rise to the top.