Reviews: Exhorder, Dragonforce, Obzidian Tide, Hope Drone (Matt, Rich & Val)

Exhorder: Mourn The Southern Skies (Nuclear Blast) [Rich Oliver]

For all the Tool fans bemoaning the fact that they have had to wait 13 years for a new album please spare a thought for the Exhorder fans who have been waiting for a whopping 27 years with the previous album by the band being 1992’s The Law album. With such a long wait between releases Mourn The Southern Skies could be crushed under the weight of expectation but thankfully this album is damn good. If you are expecting Slaughter In The Vatican Part 2 then you may be disappointed by Mourn The Southern Skies as this isn’t an all out thrash attack being a far more varied and well rounded album than expected. Being the purveyors of the use of groove within thrash metal there is plenty on offer. Being from New Orleans this album is chock full of down and dirty swampy NOLA groove which sits perfectly alongside the savage thrash riffing. It is a testament to the strength of the songwriting that these two styles can intermingle together so seamlessly. The album kicks off with My Time which is a definite mission statement from the band being an all guns blazing thrashing assault which is guaranteed to have moshers inflicting injury on each other when performed live.

 This is then followed by the absolutely sublime Asunder which is a filthy groovy riff-fest of a song with bagfuls of southern swagger. A song that is guaranteed to get people banging their heads. Hallowed Sounds is a song that sits halfway between the thrash and southern grooves and is a good indication of how this album sounds with a good chunk of the songs following this formula. There are also a few other all out thrashers such as the furious Beware The Wolf and the absolutely raging Ripping Flesh. The band save the most different and (in my opinion) best songs of the album until last and that is the crushing title track which is a near ten minute opus of melodic southern groove and doom. The album itself sounds huge and crushing thanks to a stellar production by Jens Bogren and the band themselves sound energised throughout with absolutely furious performances from all involved. Guitarists Vinnie LaBella and Marzi Montazeri deal out a barrage of awesome riffs and killer solos whilst the rhythm section of bassist Jason Viebrooks and drummer Sasha Horn pound the listener into oblivion and holding court over all this is frontman Kyle Thomas who dominates with his furiously aggressive yet melodic vocals.

Mourn The Southern Skies is a fantastic return for Exhorder. One or two songs slightly overstay their welcome but there was definitely no weak points throughout the duration. Fans expecting them to pick up exactly where they left off in 1992 may be a bit disappointed but I’m glad Exhorder haven’t made an album to please the old school fans but have made the album they wanted to make in 2019. The results speak for themselves as the band sound invigorated and like they had a hell of a time writing and recording this awesome album. Welcome the fuck back Exhorder. 9/10

Dragonforce: Extreme Power Metal (earMusic Records) [Matt Bladen]

So eight albums into their career and Dragonforce don't show any signs of slowing down (at least not in the notes department). It's their fourth album with Marc Hudson on vocals and it will be their last album to feature long time bass player Frédéric Leclercq (who was a major contributor to their previous album) and is a continuation back to the sound they pioneered in their early career which was dubbed 'Extreme Power Metal' (thus this albums title) they have been doing this since The Power Within where they became a lot more streamlined playing shorter songs, however since then their song runtimes have crept back up as founder members Sam Totman and Herman Li trade off with fret wankery. Never fear synth fans though as even though Vadim Pruzhanov is no longer a part of the band the keys are here in massive numbers provided by Epica ivory tinkler Coen Janssen with epic swathes of synths and the obligatory gaming bleeps all present and correct.

Highway To Oblivion kicks things off slow and epic before the booster is pressed and Gee Anzalone begins to blastbeat away as Li, Totman and Leclercq all bring the faster than lightspeed riffs that explode into guitar duels as Hudson gives his best vocal performance of any of his records, he is now 'the' voice of Dragonforce banishing any memories of their previous frontman, as he sings of fire, fury and victory. Cosmic Power Of The Infinite Shred Machine keeps the pace at maximum with it's sci-fi theme and flowing middle section as they go a bit prog, however it's not all pedal to the metal mentalism The Last Dragonborn is an ballad inspired by Asian sounds, the Leclerq penned Heart Demolition is a bouncy AOR number that breaks down into some virtuoso guitar playing, the 80's AOR continues on the slick Strangers. Troopers Of The Stars (a song about the seminal Starship Troopers) brings back the classic Dragonforce sound, although with some Gothic piano, it goes on from there until the final two songs really shake things up with the bagpipe laden Remembrance Day and a frenetic cover of My Heart Will Go On, yes the Celine Dion song, which is such a stupid idea it actually works, especially the 8-bit intro!

Dragonforce do Dragonforce, nobody else ever really comes close in terms of the originators of 'extreme power metal' Totman and Li are the cornerstones of the band and while the rest of the line up is fluid with these two on board they will never stray too far, for many they will always be 'that band from guitar hero' but personally they have always been a band I really enjoy and Extreme Power Metal is yet another great Dragonforce album. 8/10

Obsidian Tide: Pillars Of Creation (Self Released) [Matt Bladen]

Formed by Tel Aviv in 2012 by guitarist/vocalist Oz Avneya, Obsidian Tide are progressive metal band with death, folk and classical influences. Now as they are from Tel Aviv you may think that they would incorporate the sounds of Orphaned Land, drawing on their Middle Eastern influences as an addition to the progressive metal sounds. You would however be wrong, as Obsidian Tide owe much more to the Swedes especially Opeth a band who they are obviously heavily influenced by. Now their sound runs from Orchid right through to Sorceress (and probably In Cauda Venenum as well), bringing those sonorous, soulful clean vocals mixed with the harder edged death growls on a musical palette that has numerous textures to it.

Haunting post-metal ambience, some keyboard driven classic prog sections, technically precise riffs, heavy metal fury and even some jazz flourishes. It's obvious from the opening title track that it's Mr Akerfeldt and co that are the main style here, the cleaner off kilter hypnotic opening moves into the heavier aggressive sounds of the chorus, where we get that darkness that creeps into second song Seven, which could have come from Ghost Reveries and has some really classy jazz flute and tabla drums. Along with Oz, Obsidian Tide is made up of Erez Nadler (drums and programming) and Shachar Bieber (bass and harsh vocals) so they are a trio. I'll let you read that again. This album was created by a trio! A 55 minute conceptual piece that also features some guest playing from Symphony X's Mike LePond was written and produced by three men with the assistance of Jamie King for mixing and mastering.

As I said there is a very Scandinavian sound here but it's not all Opeth, there's the gothic resonance of Katatonia on Kings Of A New Realm which opens with some solitary strings before it ramps up again, however the grand piano in the middle section of the song should be jarring but sits comfortably in the diverse nature of the bands sound, as the bass comes back in with some jazz fingerstyle playing. There's also some Enslaved heaviness on Hireath which evolves into a Camel song with more 70's prog overtones. They do spread out to the USA for the complex solos and riffs of Cynic. Pillars Of Creation is an album that is well sequenced (one of my pet peeves is an album that doesn't flow) you can hear there has been time and attention given to it. On The Harbinger And The Millenial Vengeance they bring everything together in 7 minute plus opus that features Mike LePond though it is followed by the explosive 11 minute Magnanimous which has acoustic scrubbing and even a sax break. Pillars Of Creation is a truly excellent album that will keep your excitement at a high level for In Cauda Venenum, however it also lays down the gauntlet for the Swedes. 9/10

Hope Drone: Void Lustre (Moment Of Collapse Records) [Val D'Arcy]

Void Lustre is the latest musical output from Australia's Hope Drone and comes four years since their first album Cloak Of Ash. Black Metal isn't something immediately associated with Australia by most people, save perhaps the few well known acts such as Destroyer 666 (laxly included in the genre), Woods Of Desolation and more recently, Advent Sorrow. That said, Australia's extreme metal output is growing particularly in the blackened death and death metal scenes. Nonetheless, for the most part it's a black metal album, with enough of trademarks to allow it to pass as such; tremolo picking, blast beats, minor keys and depressing themes. That would be a fair categorisation at a high level, but it's a little more complex than that. The vocals are more blackened death with even some hardcore influence. There are regular helpings of atmospheric and post black portions along the way too, which do affect the overall sound of this record, resulting in it being something of an ugly duckling. That's not to say its lacking in self awareness, but it certainly doesn't fit in. At over an hour, this is a long album and it's by no means an easy listen, it requires a degree of both concentration and stamina. The words void and drone are both fitting here, hope and lustre maybe less so; its an overwhelmingly sombre record. The extended post black passages are introspective and at times desolate.

There's a synthetic echo that comes and goes throughout that doesn't quite allow the sporadic returns to traditional black metal to achieve anything that comes close to optimism or even real aggression. Rather, these heavier passages feel emotionally more akin to outbursts of desperation than anything else. The third track, In Floods And Depths is one such interlude and a personal favourite of mine, a beautiful mix of deep, rich melodic riffs and blast beats, punctuated with high pitched, reverberating tremolo picking and intermissions of post black respite; a concentrated distillate of the whole. Interestingly, I listened to Void Lustre on a sunny Friday morning and a rainy Monday morning with distinctly differing experiences. Having struggled to connect with each other on the Friday, emotionally, I was glad to have revisited three days later. The despondency of this album had something of a catalytic effect, triggering a reaction that fused together the grey, misery of the weather and my own sense of hopelessness in returning to work after a weekend at home. I wouldn't be so dramatic as to claim this album to be the soundtrack to despair but aligning it with your own negative associations does bring out the best in it. Put on your moody face and give it a listen. 6/10

A View From The Back Of The Room: Tomb Mold (Live Review By Paul Hutchings)

Tomb Mold, Ritual Necromancy & Of Feather And Bone, The Exchange, Bristol

Hailing from Canada, death metal exponents Tomb Mold have blasted onto the scene with all the decorum of a charging rhino. Three full-length releases in three years as well as an EP puts these guys in the prolific camp. Not only is their output regular, it’s also some of the best death metal heard in years. With only two UK gigs on their European tour, this was a night not to miss and it proved to be exactly that. By all accounts opening band Slimelord from Leeds were a good start to the evening. Apologies to them as we arrived too late to catch their haunting doom-soaked death metal. A quick listen to their latest release The Delta Death Sirens supports the view of the room and they will be on the list to catch next time around.

We were firmly in place for Denver trio Of Feather And Bone (8) whose 35-minute set of hardcore grind death and crust pulverised the healthy crowd gathered expectantly in front of them. There is none of the flouncy intro tape malarkey with death metal bands, they finish their tuning and checks, look at the crowd, say “ready” and proceed to destroy. Of Feather And Bone formed in 2012 and have a couple of EPs and long players to their name, the most recent the 2018 release Bestial Hymns Of Perversion. There’s not a lot to watch; the blur of drummer Preston Weippert, the roar of vocalist and bassist Alvino Salcedo and the thrashing of guitarist and vocalist Dave Grant is about the sum of it but you don’t need a lot of movement as you are required to hold all your senses in check to fend of the pummelling that this three-piece create. From intense full-speed thrashing to slower paced bludgeoning groove, Of Feather And Bone simply crushed it. In a flash it was over, but hell of a start and the internal organs were already asking “what the hell is going on dude?”

If my spleen was weeping after Of Feather And Bone, it was positively screaming after the 40 minutes of Portland’s Ritual Necromancy (8). Putting aside a few microphone issues, bassist and vocalist Justin Friday, drummer Kevin Schrentelkamp and more recent additions Jay Wroth and fellow guitarist Jonathan Quintana delivered an equally punishing set. Friday is captivating to watch, the man disappearing into a trance like state as he delivers gruesome low and unintelligible roars and grunts, his eyes rolled back, and his frame quickly drenched in sweat. Down tuned, dirty and extremely sinister, Ritual Necromancy accelerated quickly before reaching their masterpiece, Disinterred Horror, the title track from their 2018 sophomore release which contained brutal fast sections and large slabs of slow, crushing passages. It was an intense experience and standing two foot from one of the speakers meant I was trembling uncontrollably by the end of their set, purely due to the vibrations summoned from the demonic summoning that the Portland outfit had seen fit to spew out.

With such a strong undercard, you’d have been a brave person to suggest that Tomb Mold (9) would get a higher rating than their American brothers but the Canadians simply raised the bar another level with a display of power and control which ensured neck ache, bleeding ear drums and a lot of smiles. The band combined tracks from this year’s excellent Planetary Clairvoyance with 2018’s Manor Of Infinite Forms, the EP Cerulean Salvation and their 2017 debut release Primordial Malignity. Unbelievably, given the force and complexity of the drumming involved in Tomb Mold’s music, drummer Max Klebanoff also delivered some of the gruffest death metal vocals heard for many a moon. This left the front of the stage open for bassist Steve Musgrave, flanked by the twin guitars of Derrick Vella and Payson Power, and the trio gurned, grimaced and scowled their way through the 50-minute set. By the time the band left the stage, the crowd were calling for more but also reeling from a three-hour assault from some of the finest death metal Bristol has heard for some time. Full marks to the excellent audience who filled the venue, to the organisers for getting this festering heavy beast of a package to a show outside of London, and to the bands for playing blinding sets.

Reviews: Year Of The Goat, High Command, In Search Of Solace, Bearers (Matt & Liam)

Year Of The Goat: Novis Orbis Terrarum Ordinis (Napalm Records) [Matt Bladen]

The Swedish occult hard rockers return with their new album of sinister, gothic, melodic rock anthems. It's got slow burning magic on Subortus with a triple guitar attack, the songs sound huge as the guitars jangle with gothic darkness on top of a crunchy rhythm grooves. It carries the flame of YOTG's previous records with that mix of Blue Oyster Cult, Pentagram, Wishbone Ash and The Cure. You could say it's Ghost but YOTG have been doing this longer and better in my opinion for ages. Luxuria is a galloping rock anthem reinforced by organs which do actually come into their own on the haunting and soulful Ira where the bands main weapon of Thomas Sabbathi's fantastic vocals. He is the key to this bands sound with a wide range and powerful delivery that has him emoting like he's in a Steinman project on Ira which is a stirring mid album progressive piece. It's followed by the psych rocker in the shape of the immediate Superbia. Novis Orbis Terrarum Ordinis is a stylish album that is drenched in sorcery and black magic that tunes into the radio rock appeal with some prog edges especially on Subicio which has some keening female vocals meeting with Thomas' as it evolves into a intense guitar solos as it slows into the crushing final part. An album that is a musical journey from beginning to end, light the incense, cast a spell and welcome the Year Of The Goat. 9/10

High Command: Beyond The Wall Of Desolation (Southern Lord Recordings) [Matt Bladen]

Well this is a properly good heavy metal release. Guitarist Ryan McArdle and vocalist Kevin Fitzgerald formed the band trying to make the gnarliest, heaviest metal album they could prompting the creation of the New Wave Of Worcester Heavy Metal, (that's Worcester Massachusetts not in the UK). Have they succeeded? Well as the chainsaw riffs peel the skin of your face, you can shout hell yeah! A mix of the second thrash scene hitters such as Testament, Exodus and Death Angel. High Command are and aggressive beast coming from the Bay Area and Punk scenes with blistering solos, break neck riffs, barked vocals and of course numerous dive bombs, there's very little let up save for some groovy stomping such as on Merciless Steel and Forged To Kill which will just beg for some pit action. Kevin Fitzgerald's lyrics are based heavily in the fantasy realm with nods to the world's of George R R Martin and Frank Frazetta. This is an album that is more than the sum of its parts as Devoid Of Reality segues into a dramatic orchestral piano piece before the chainsaw guitars come back with a vengeance. For a debut release Beyond The Wall Of Desolation could put High Command on the par with Power Trip in terms of modern thrash bands that have that vicious crossover appeal, it could be one of my albums of the year. 9/10

In Search Of Solace: Enslaved To Tragedy (Nuclear Blast) [Liam True]

Making Metalcore standout in this day and age is difficult as you’re always going to get the bland bands who just have no flair or motivation in their music. In Search Of Solace however are taking Metalcore and pushing the boundaries of Metalcore. Being destructive with stomach-churning breakdowns, eardrum-shattering vocals. Most of the music in this scene is pretty basic and generic, but ISOS have created a different sound, being technical yet true to their roots, it’s a brutal assault that makes you crave the following song to see what kind of innovative sound they’re going to pump out. All in all the band produce a new sound to the stale genre while making the Metalcore as prominent as it can be. 8/10

Bearers: Inhumation (Self Released) [Liam True]

Some fantastic Metalcore from Glasgow. Through 10 songs and 40 minutes the Glaswegian quintuplet group push out some of the best and most unusual time signature changes so far this year, but pull it off so well that the record as a whole feels like one big experimentation. With crushing breakdowns and larynx shattering vocals. Not to mention the entire album is a mosh pit inducing frenzy of Metalcore madness. Throughout the record you can hear influences from other bands, but mainly I caught influences from fellow Metalcore outfit Oceans Ate Alaska, with the unique guitar tones and hard-hitting drums. Not as technical, but they do this so simply that it doesn’t need to be technical at all. There’s not really a stand out song to me, but the most energetic and adrenaline building song has to be Neurotic as you can just feel the intensity and energy from a packed-out venue bursting through the speakers. Some good unique metal. Well done guys. 7/10

Reviews: Nightstalker, Planet Of Zeus, Night Resident, Synteleia (Reviews By Matt Bladen)

Nightstalker: Great Hallucinations (Heavy Psych Sounds)

The leaders of the Greek stoner genre (though they reject the term) return with their highly anticipated new album Great Hallucinations. Formed in the same year as seminal black metal act Rotting Christ, Nightstalker are still led by singer (then drummer) Argy and they have risen from the Greek underground into the grungy, funky, heavy riffing beast they are today. Numerous line up changes have come to the bad but since Dead Rock Commandos the band have become the leading light in the rock landscape in Greece while also extending their reach across Europe playing at numerous festivals every year and even headlining in their own country, most notably this year's Street Mode Festival in Thessaloniki.

So what of their eighth record? Well it opens up with some Monster Magnet grooves which sees Argy's voice distortedly shouting over some psych drenched riffs and distorted basslines from Tolis Montsios and Andreas Lagios. Things get slower with the blissed out Sweet Knife as some open chords as Argy cries out with the "Can't sleep at night" refrain when the thumping bass kicks in again built on Dinos Roulos' expressive drumming as it builds into more big riffs, Sad Side Of The City is a slow burning number built on a repetitive guitar sound and chorus, it moves into Seven Out Of Ten which is the most Sabbathian (it's a word) song on the record sounding so similar to the Birmingham originators it's uncanny, the spirit of Sabbath also looms heavily on Cursed which has a big bas throb and some tasty guitar work.

Born of the sounds of the British inventors of heavy metal while also moving through desert rock soundscapes (title track) and adding their own Athenian grit, Nightstalker deserve all of the plaudits they get. With this eighth record they have shown this yet again so maybe it's time the UK gets a taste of these Hellenic hard rockers with a tour. 8/10    

Planet Of Zeus: Faith In Physics (Heavy Psych Sounds)

The continuing evolution of Planet Of Zeus comes with their fifth album Faith In Physics, they are a band that have always had one foot in the political but this record amps up their socio-political ideology as it serves as "a pamphlet about political, religious and digital-era extremes that stifle freedom of speech worldwide these days." It's a theme that can unite anyone listening to this album using the groovy stoner riffs and clever but singable lyrical style of Clutch (All These Happy People) mixed with the defiance of Rage Against The Machine (Revolution Cookbook). There is a lot of different sounds here but they rarely stray outside of the highly charged stoner rock anthems full of thick grooves, something they have always excelled at.

But on Faith In Physics they have gained a level maturity that has been creeping in from their previous album, it's taken them from snot nosed stoner ragers into a more savvy heavy unit. These Athenians crank out the riffs that move from Gasoline which has the rampaging of Monster Magnet's Powertrip to the psychedelic Let Them Burn a slow, open chord driven monster that crawls along in a haze and the explosive On Parole which takes things into MC5 style of elongated guitar freakery. Babis Papanikolaou, Stelios Provis, Giannis Vrazos, Serafeim Giannakopoulos have crafted another high calibre slice of heavy rock music that brims with passion and a take no prisoners attitude.

The album ends with it's slowest song King Of The Circus which could be a song by The Doors such is it's waves of wooziness and long instrumental passages. Faith In Physics is yet another great album from Planet Of Zeus, the Athenian pack are back with their most 'adult' album yet! 8/10

Night Resident: Self Released (Moon Rapture Records)

Do you remember when Ghost were a heavy band? Pepperidge Farm remembers...as do we at MoM. Well Night Resident obviously also remember as their sound is is reminiscent when the nameless ghouls and Papa played doomier sound but with hard rock edges. Akin to bands like Graveyard and Uncle Acid these Athenians have made an album of blatant Sabbath and Candlemass worship with echoed vocals and thick riffs are often fleshed out by some folky acoustic segments. This is a debut record for the band and it's brimming with gloomy rock goodness, drawing on the dark occult for Bright Red Eyes while bringing the heavy to Moon Rapture and After The Fade. These are songs that you can shout along to with the rumble along with occult touches throughout it's pretty standard but enjoyable enough if this kind of doom rock is your thing. 6/10

Synteleia: Ending Of The Unknown Path (Hells Headbangers Records)

Formed in 2015 Synteleia are another Greek black metal band and unlike every other Greek metal band where the Orthodox church features heavily in their lyrics, Synteleia instead are all about Horror, Lovecraftian horror to be exact focusing on one of The Great Old Ones Chthulhu. With the opening Daemonica Infernalium the band immediately attack with blast beats and ferocious vocals that are barked down the mic. It's got a production sound of those early Rotting Christ and Varathron records along with the more cinematic style of their later works. This is relentless battery from  moment one as the stories of the monster from the abyss are told against classic sound Hellenic black metal.

Tracks such as Dark Summoner Of Yog-Sothoth have more of a grinding groove to them with Ithaqua, Thy Mighty Storm having fewer blast beats and digging a more ominous trench. It's Hellenic black metal 101 drawing from all the eras, when it was raw and visceral, when doom and death creeped in and more recently when symphonic and classical sounds, included here is a soprano. This album builds as it progresses opening up into a very strong black metal album, expertly played and crafted black metal. 7/10

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