Reviews: Hypno5e, Seven Kingdoms, Metal De Facto, Devil Rolling Dice (Paul S,Rich & Matt)

Hypno5e: A Distant (Dark) Source (Pelagic Records) [Paul Scoble]

French band Hypno5e have been in existence since 2003. The four piece based in Montpellier have made four albums before A Distant (Dark) Force, the last one being 2018’s film soundtrack Alba - Les Ombres Arrantes. The band play progressive metal, but these days that label covers a lot of ground; so let's be a bit more accurate: Hypno5e play a very Djent and Meshuggah influenced brand of Progressive Metal. The band also refer to their style as ‘Cinematic’ progressive metal. Although there isn’t anything on this album that sounds like the soundtrack to Lawrence Of Arabia, or Out Of Africa. There are samples of voices talking, which have a definite cinematic feel to them, very French New Wave, I can almost smell the Gauloise! These samples do add to the songs, they aren’t just tacked on, I wished I had tried harder in French lessons at school so I could tell you what they all mean, I feel like I might have missed out on a great story. If you are french, or can speak french, then you will probably get a little more out of the album than I did, maybe you could contact the blog with a story synopsis?

The structure of the album is quite complex. We get 11 tracks, the opening and closing tracks are stand alone songs (On The Dry Lake & Tauca - Part II (Nowhere)), but the other 9 are 3, 3 part songs named In The Blue Glow Of Dawn Parts I, II & III, A Distant Dark Source Parts I, II & III and On Our Bed Of Soil I, II & III. Most the tracks are a mix of very rhythmic and choppy Djent riffing, with some genuinely beautiful softer sections that have clean guitar and vocals that are smooth and deeply melodic, there is a shimmery quality to these softer parts. Sometimes the riffing falls into fairly simple chugging on one note style djent, which is unfortunate, but a lot of the heavier riffs have more complexity than this regressive, simplistic Meshuggah worship. A Distant Dark Source Part I and On Our Bed Of Soil I are purely soft and beautiful.

If I’m being totally honest I’m more of a fan of the Enslaved/Opeth style of progressive metal, rather than this Djent and Meshuggah influenced style. I’m a fan of melody rather than rhythmic dynamics; but this is not Hypno5e’s fault. So, some of this isn’t to my taste, however I would be being remiss if I criticised this for simply being a different style to what I’m a fan of. For example I’m not that keen on the harsh vocals, they are a little to emotional, maybe a little too like Metalcore; but if you like vocals like that, then you’ll love this (The clean vocals are to my taste, and they are very good!). Again, I’m not that keen on one note chugging, but most of the riffs have more complexity than that, and I’ve quite enjoyed them, which is a very good sign if you are a djent fan. A Distant (Dark) Source is a very good album, I’ve enjoyed listening to it, and that is a big compliment, as I’ve discussed. If you are into Meshuggah and Djent then this is an album you should dive into, you’ll find a lot to enjoy. I have to be honest in the mark I give this album, but if you’re a fan of this sort of thing, then you could probably add a point or two. 7/10

Seven Kingdoms: Empty Eyes EP (Self Released) [Rich Oliver]

Empty Eyes is the new EP from US metallers Seven Kingdoms. Not a band I am familiar with but Seven Kingdoms have four albums under their belt and have toured with some very prolific bands. From reading about the band they are described as having a power metal sound with heavy influences from thrash so this EP must be a bit of a departure as this is a straightforward heavy metal sound with some leanings towards power metal. The songs are all slow to mid paced and whilst melodic never really take off and go anywhere but all whilst showing promise whilst to be ultimately isn’t delivered. The opening title track has too slow of a tempo to muster much enthusiasm, Monster whilst mid paced does have enough of a catchy melody to hold some interest whilst The Water Dance kicks up the tempo a little bit with its power metal gallop before things slow right down for the snoozefest Valonqar which leans of the ballad side of things but without going anywhere or doing anything. The EP closes off with a fairly redundant cover of Heart’s classic Barracuda. The band put in decent performances despite the lacklustre material they are working with and singer Sabrina Valentine has a fine voice at times sounding very reminiscent of Simone Simmons from Epica. This EP was a disappointment as whilst reading up on the band I had read many promising things but this release ultimately just does not deliver. 5/10 

Metal De Facto: Imperium Romanum (Rockshots Records) [Matt Bladen]

Now this is more like it! Formed by Esa Orjatsalo (ex-Dreamtale) and Sami Hinkka (Ensiferum), Metal De Facto has been formed to "Make Power Metal Great Again" this Finnish act have brought the bombast back to power metal definitely with this Roman themed album. Now Roman's have been done by a few bands (Ex Deo for example) but the fanciful, extravagant sometimes unbelievable nature of Roman history makes it prime content for power metal bands. There's war, political strife, betrayal and even a lot of sex/romance, it's full of heroes and villains (sometimes one and the same) and for many it's a very popular part of history. Now this album is a concept record based around the Roman Empire (thus Imperium Romanum - Latin Ed) dealing with the ideologies, stories, culture and mythology of one of the largest Empires in history.

From the total loyalty of the soldiers on Legionnaires Oath, the sheer debauchery of Bacchanalia (which sounds like Helloween), the pomp and drama of the Colosseum (which admittedly is an instrumental) and of course the murder of Caesar on Ides Of March. These are all delivered in a no  nonsense power metal style with galloping riffs, widdly solos and soaring vocals that just bring a goofy grin to your face (bigger for me due to the lyrical content). Now I mentioned Ex Deo earlier who are probably the leaders in 'Roman Metal' so it's only fitting that their singer/mastermind Maurizio Iacono provides the spoken word for the finale of Germanicus, the epic tale of a prominent Roman general. Imperium Romanum is a brilliant first shot by Metal De Facto, slick keys, swelling orchestral backing, powerful vocals, thundering rhythms and some nifty guitar work.

It's bloody silly but so entertaining dammit! I'd put this in the same category as Helloween, it doesn't take itself too seriously and is all the better for that. Now if they could follow it up with a full metal opera about Caligula that would possibly push me over the edge into euphoria. 9/10

Devil Rolling Dice: The Catastrophic Sequence (Self Released) [Rich Oliver]

The Catastrophic Sequence is the debut album from Greek thrashers Devil Rolling Dice. With this album Devil Rolling Dice have recorded just over an hour of stomping mid paced thrash metal which varies little throughout its duration. As an avid thrash metal maniac I’m very particular about my thrash metal and The Catastrophic Sequence unfortunately did very little for me. One of the overriding factors for thrash metal is the speed and Devil Rolling Dice very rarely venture from a mid paced chug which means virtually every song sounds identical or at least extremely similar. The band do kick up the tempo in a couple of songs opener Prison Dead and closer Judas Paradox have a bit of speed and velocity to them but everything else in between those two songs is pretty much monotony. The band play as a tight unit and frontman Dimitris Stathopoulos has a bark similar in style to Max Cavalera but the material recorded just sent me on a one way journey to boredomville. Thrash is meant to be fast, vibrant and exciting but The Catastrophic Sequence is a catastrophic failure in how to do thrash metal. 3/10

Reviews: Avatarium, A Pale Horse Named Death, Nightglow, The Lone Madman (Paul Hutchings)

Avatarium: The Fire I Long For (Nuclear Blast)

Written during and after the arrival of the first child of singer Jennie-Anne Smith and guitarist Marcus Jiddell, album number 4 from the Swedes is another impressive opus which builds on the fantastic Hurricanes And Halos. Rickard Nilsson’s thick Hammond organ threatens to dominate the opening track Voices, but Jiddell ensures that his signature guitar work is heard. First single Rubicon allows the band to flex, a muscular almost metal track which skilfully retains the essential doom feel that has been the soundtrack to this most captivating of bands. Lay Me Down has a Catch The Rainbow feel to it, and there are plenty of old school influences evident here whilst the band manage to retain their own sound with comfort. Lay Me Down also allows Avatarium to depart from their usual bone crushing doom with a more psychedelic piece that also echoes The Doors and Zeppelin in parts.

Leif Edling may no longer tour with the band he created, but my recent conversation with Jiddell revealed that the Candlemass legend is still fully involved in the band, contributing three songs to the album. It’s Jennie-Anne Smith’s soulful vocals that give Avatarium an edge to so many other doom-filled outfits and her performance here is superb. The racy rocking Shake That Demon, possibly my favourite track on the album allows the band to kick out the jams, as it thunders along with thick riffs and a drive that is impossible not to react to. Elsewhere, there is unexpected variety across the album with the powerful Porcelain Skull at odds with the mournful Great Beyond and the epic title track. Stars They Move closes the album, a solitary piano and minor effects accompanying Smith’s melancholic vocal. One of the most impressive releases of the year and hopefully some live dates to come in 2020. 9/10

A Pale Horse Named Death: Uncovered (Long Branch Records) [Paul Hutchings]

A two-track single from Brooklyn’s APHND, Uncovered features two covers, the first Three Dog Night’s One, which retains the melancholic echoes and the song structure of the original but inevitably adds the unique elements that make APHND such an interesting band. Crushingly heavy at times, APHND ensure that the psychedelic elements are in situ. Track two is Prayers For Rain, from The Cure’s 1989 album Disintegration. A brave move to cover such a revered song from the band’s bestselling album, APHND manage to capture the gloom and depression that lay over the creation of Disintegration as Robert Smith faced the realisation that he was approaching 30. Contrasting styles of songs, covered with respect and panache, and well worth a listen once you have checked out their superb When The World Becomes Undone from earlier this year. 7/10

Nightglow: Rage Of A Bleedin’ Society (logic(il)logic)

Badged as a thrash band, Italian four-piece Nightglow were a lot more melodic than I was expecting. There is certainly a thrash element to the band, their power and pace suggests that they could fit into that category. However, at times, such as on the quite bizarre On My Own, the band veer closer to the path that Disturbed follow. I’ve listened to this album several times and I still can’t decide if it is anything more than average (which suggests not). Musically tight, there’s nothing that irritates or annoys me, but I can’t say that it grasps me tightly screaming “this is brilliant” either. In part it’s the vocal delivery of Daniele ‘Abba’ Abate, which is an acquired taste and one which I’m not over fussed on. His raspy, full-throated style sits in the nu-metal arena as do several of the band’s songs, such as Fuck@looza and the unimpressive album closer MOFO Social Club. Overall this album tries hard but doesn’t light the spark. 5/10

The Lone Madman: Let The Night Come (Self Released)

Formed in Helsinki in 2014, The Lone Madman is a four-piece doom outfit whose heavy dark riffs belong in a hammer horror film. Sinister, evocative and cranium-crushingly heavy, this album contains a mere four songs which combined total 42 minutes. Yes, they are massively long. Häxan, the shortest song on the album at a mere 7:29 is based on the 1922 film of the same name and deals with how magic and witchcraft have been misrepresented over the ages. It’s gloomy, intense and old school, with a freakish flute solo reminiscent of 1970s occult outfits at the three-minute mark. The remaining three songs all pass the 11-minute mark and for a debut release are impressively constructed, full of heavy, low end riffs and gargantuan slabs of stoner doom rock. Heavy as the bus full of elephants, if you like your doom in the style of Crypt Sermon then allow The Lone Madman into your head. 7/10

Review: Schammasch (Big Review By Paul Scoble)

Schammasch: Hearts Of No Light (Prosthetic Records)

Schammasch have been in existence for a decade. In that time they have made 3 albums; 2010’s Sic Luceat Lux, 2014’s Contradiction and 2016’s Triangle, and one EP. The five piece who are clearly fans of truncation as they only have initials are: C.S.R. Vocals and Guitar, B.A.W. Drums, M.A. Guitars, A.T. Bass and J.B. Guitars. The band is based in Basal in Switzerland, and the name Schammasch is taken from the name of the Sun God from Akkadian/Babylonian mythology.

The album gets underway with a short (ish) instrumental called Winds That Pierce The Silence, which opens with a very florid, romantic piece of piano, before huge and heavy guitars come crashing in to a brooding build up, a melody guitar lead drives the track forward until it arrives at the first song Ego Sun Omega. Ego Sun Omega opens with dissonant echoey guitar riffs and spoken, harsh vocals. The riffs keep coming, until we have a multi-layered tremolo picked riffs, over blasting drums. This is our first taste of what I think is this albums signature feeling; huge stacks of layered tremolo picked riffs. The feeling that initially comes with this is chaotic and hypnotic: insane swirling chaos; but after 3 or 4 listens you start to be able to feel order in the chaos. After enough listens you realise that : Yes there is chaos, but it’s controlled chaos.

There is an underlying sense of structure to the pandemonium, the maelstrom has a controlling intellect behind it. This is a staggering piece of composition. After our first taste of this controlled maelstrom (which does return), the track gets more direct and driving, everything points in the same direction, until the whole thing drops for a quiet brooding section, a brief pause for breath before things get extreme again. With blasting drums and those direct, attacking riffs again, but again, more and more riffs are added till Insane Swirling Chaos is once again achieved, the maelstrom then slowly fades till the end. The next track A Dream Ablaze is a short track which feels like an instrumental, even though there are vocals they are spoken and low in the mix and echoey, so it feels like a piano led, trip hoppy instrumental.

Next track Qadmon's Heir is a complex beast, it’s almost an exercise in confusion and misdirection, as a listener, you feel pulled in all directions. It opens with direct, aggressive blasting, but as time goes by, dissonance is added, the blasting becomes less direct. We then reach a section where the vocals come in and it’s immediately slower and much more choppy, and staccato in rhythm. This feel then gets faster and faster and clean, chanted vocals are layered into the track. We are then catapulted into a very fast and nasty blasting section that is some of the most extreme music on this album. After battering us for a while the band bring everything down again with a soft and melodic section, after a little chanted, clean vocals are added, this section then slowly fades to the end of the song.

Rays Like Razors starts slowly and quietly, with dissonance being added as the song progresses. Aggressive vocals come in, and the intensity builds. This intensity is answered by incredibly nasty blasting, and a menacing vocal line that is repeated over and over, once this gets too much the song heads into insane swirling chaos territory and the vocal lines become hypnotic; this whole section is verging on oppressive, but never strays over the line, again, amazing composition. The song ends with a slow, dissonant section that slowly fades. I Burn Within You opens with a very high register guitar riff and impassioned, verging on manic vocals. Everything gets nastily dissonant, with more of those clean, impassioned vocals. This tracks stand out feature are those clean vocals that are ardent and passionate, almost dervish-like, at the height of religious fervour. They cut through the music and give it a near hysterical, raving quality, that is the main emotive driving force behind the song. So, when we get some very direct riffs the song still feels unhinged and out of control, a similar feeling to the controlled chaos sense that the band do so well musically. After this direct section, the song becomes solely manic, out of control piano, with ‘those’ vocals, before one final blast and dissonant piano and chanting end the track. The songs on this album are massive and sprawling, but always under control, and after a few listens, nothing feels jarring or out of place; no matter how strange and otherworldly this becomes.

A Paradigm Of Beauty is in some ways the strangest song on the album as it is the most normal. It’s a gothic, slightly new wave feeling track. It has clean vocals throughout, although without the manic lunacy of the previous track. In some ways it’s most like something The Cure would do, mid-paced but always driving forward, and with a great chorus. The guitar sound has that slightly twangy gothic feel of The Mission or Fields Of The Nephilim, or, well, The Cure. This might seem incongruous, on an album with so many blast beats, but in many ways it acts like a palette cleanser after the manic feeling of the proceeding track, and the extremity that coming next.

Katabasis has a long, brooding opening that slowly builds, drums are added before going into an almost ridiculously fast, blasting section. The track then adds insanely fast vocals that are almost deranged and out of control, at this point the blasting takes on the chaotic but deliberate feel that is sooooo good on this album. This is one of the most aggressive and savage parts on this album, it’s ferocious and wild, it borders on scary how savage this band can be when they want to. This much intensity couldn’t last too long, and the track crashes into a slow, meditative section for a while before the blasting savagery returns for a short time, but this too drops to a much more melodic and tuneful section with some nice chanting, before a dissonant ending.

Innermost, Lowermost Abyss brings the album to a quite strange ending. The track opens with clean, but dissonant atmospherics. A clean, classical guitar is added and this slowly builds to become full on Flamenco classical guitar, with tribal drumming behind it. This section feels expansive and huge, there is a feeling of ritual and ceremony about it. The track then goes into an ambient drone section where different tones are mixed in a deeply meditative way. After a few minutes, just as it feels as if it is coming to an end, the tones get more layers, get louder, more aggressive and some distortion is added, this then builds quickly to a huge crescendo, and then; Silence, as the final note. This might sound like a strange way to end an album, but in the context of THIS album; it fits perfectly.

Hearts Of No Lights is a massive, sprawling, contemplative, aggressive, viscous, beautiful, engaging, hypnotic, disturbing and cathartic album. It feels like Schammasch's career to date has been building to this album. For me the central feeling is of balance. This is about equilibrium, everywhere it gets dark, there will soon be light, wherever there is feverish chaos there will soon will be calmness and piece. The structure of each individual song, as well as the structure of the album as a whole seems to be based on this feeling of balance. Even the end of the album; insanely huge crescendo followed by several seconds of silence, a final yin and yang to end the album. There is a huge sense of religious fever (although it is undefined which religion, I get the feeling that Schammasch wouldn’t lower themselves to getting denominational about this) running throughout this album. 

I definitely feel that this album has a sacerdotal function; it is channelling energy to the listener from somewhere higher, or maybe it would be more accurate to say ‘Other’. The band are an intermediary between the listener and a greater power. In a purely musical sense, this is a stunning album, it’ll take a few listens to get really into it, it’s a complex beast that deserves some effort from the listener, but if you do give it some time and energy, you will be rewarded by one of the best ‘Spiritual’ Black Metal albums I have ever heard. Absolutely stunning! 9/10

Reviews: Tribulation, Lionize, Wilderun, Vikram (Paul H, Matt & Alex)

Tribulation: Alive & Dead At Söndra Teatern (Century Media) [Paul Hutchings]

Recorded before a seated audience at one of the most prestigious and revered venues in Stockholm, Tribulation delivered a two-part set which would have been an exciting event to have attended. The first half of the show focused on 2018’s album Down Below, the album delivered in full before a mix of songs from their catalogue completed part 2. Whilst the audience is relatively muted throughout the album, there is nothing wrong with their dark, gothic style of metal. Of the nine tracks from Down Below, the ten-minute Here Be Dragons is the epic standout track, the darkness permeating through the speakers as the track unfolds majestically. Elsewhere, The Motherhood Of God hits the gothic elements perfectly and there is plenty elsewhere to get the hearing weapons engaged. It’s a good introduction to a band whose slightly obscure style may well cause a few scratches of the head when they link with Ghost in the next couple of weeks. Whether it’s as epic in terms of live albums as their press release say is of course down to personal tastes. To me it isn’t anywhere near the legendary live albums of years gone by, but it captures the essence of a wickedly underrated band. 7/10

Lionize: Panic Attack (Electric Reckoning Music) [Paul Hutchings]

I’ve been waiting for this one for a while; well, since shortly after their last album Nuclear Soul landed to be honest. I am completely absorbed by the groove and funk of this band. Their mix of genres, styles and general approach just tick all my boxes. Lionize has also been drip feeding this release to social media, almost to the point of irritation so it’s been a joy to final receive the signed CD that I ordered months ago. If you don’t know who Lionize are, the band hail from Maryland with the current line-up being Nate Bergman (guitar and voice), Henry ‘Hank’ Upton (bass) and Chris Brooks (keys). Drummer Chase Lapp left the band at the turn of the year and the assured beat master Jean-Paul Gaster of Clutch, a band indelibly linked with Lionize, stepped in to add his unique drumming style to the album. This is full length album number 7 and it’s another cracker to add to the discography.

Soaked with the blues groove of previous albums, rich with harmonies and Brooks’ thick Hammond organ and Rhodes piano sound, it’s a 35-minute adventure which is soaked with punchy, addictive songs that demand your attention and movement. Upton’s bass lines fuse funk, reggae and rock, Bergman hits the high notes on the vocals in that sweet style of his, whilst adding deft touches on the guitar. The Loneliest Whale is a fabulous opener, building in tempo to explode into a right old rocking tune as the story unfolds; we’ve all been that whale, looking for our pod but not being on the right frequency to find it. The title track grabs the attention. Throughout the album the clever lyrics weave tales and stories which engross the listener. Giant Spiders Of The Universe wins on title alone but it’s also a stomping funk fuelled fist pumper, guaranteed to get the head nodding.

Andy Kaufman’s Not Dead allows the reggae funk to kick in while penultimate song Break Out keeps the tempo high, with some lovely keyboard work before final track Heavy On The Mind slows things down with a reflective feel. Lionize can do no wrong in my book. Their seventh long player is technically clever, intuitive and instantly recognisable. A band who deserve wider exposure, this is a late entry into the top ten for 2019. 9/10

Wilderun: Veil Of Imagination (Self Released) [Matt Bladen]

This album is a masterpiece. An absolute masterpiece. I could end the review there give a score and be done with it but you probably want me to quantify why I think this record from Bostonian prog metal band Wilderun will be very near the summit of my Top 10 of the year. So I want to take you on a journey similar to the one the album itself takes you on, imagine a place where Opeth didn't grow into the 70's worshipping progsters they are today imagine if that at the time of Blackwater Park where they brought in more of the pastoral folk sounds to their death metal assault they also began to forge a partnership with Blind Guardian and add huge a full orchestra to everything they do.

What you would have is a band who dive between lilting folk passages, death metal aggression, power metal gallops all finished of with a cinematic orchestral score and the mournful introspective . What you would get is Wilderun. From the spoken word segments that are readings of works by William Wordsworth and T.S Elliot, to the music itself an awful lot of time, thought and passion has been put into this album. I said earlier it was a journey and like with all great conceptual pieces this record seamlessly flows between each song segueing one into another as the blastbeats explode before turning into deft jazz drumming while guitars grind with tremolo picking then in a instant lull you with some acoustic fireside melodies.

It's a huge heap of praise that needs to be levied on the mixing and mastering of Dan Swanö and Jens Borgen along with the bands own production ear with additional assistance from Justin Spaulding and Andrew Greacen. Vocally the low lilting clean vocals carry emotion well and the harsh style is from the bowels of hell (very Akerfeldt) as Evan Anderson Berry casts magic with his vocal prowess along with bringing guitars (mainly rhythm/acoustic) along with piano, though due to the classical overtones of this record there are also two additional piano players on the album. Bookended by a 14 minute and an 11 minute track this 8 song record is breathtaking from the spoken word first moments of The Unimaginable Zero Summer through to the last spoken words and acoustic refrains of the final track When The Fire And The Rose Were One. We get the a dynamic boiler room from Dan Müller (bass/synths) and Jon Teachey (drums) who lead the huge sounding Far From Where Dreams Unfurl, a song Amon Amarth would raid a thousand villages for, as Joe Getter's lead guitar prowess is brilliant when he's left to shine on O Resolution! and Far From Where Dreams Unfurl.

But even on more delicate moments such as Scentless Core (Budding) and Scentless Core (Fading) the instrumental mastery is at the highest level aided as always by the thrilling orchestrations of Dan Müller and Wayne Ingram which fortify's these compositions with huge walls of classical instrumentation, choirs and all manner of tricks to make sure Veil Of Imagination keeps you enthralled for it's one hour plus runtime. My advice is clear your schedule and settle in for this record, if you do you will be rewarded with quite possibly one of the best albums of 2019, well worth it's four year gestation period, Veil Of Imagination is as I said at the beginning a masterpiece. 10/10

Vikram: Behind The Mask I (Rockshots Records) [Alex Swift]

In ambitious, progressive fashion, Behind The Mask I is the first part in a trilogy of stories, the details of which will be laid out in three novels of the same name. Speaking as someone who admires the multimedia experience and really appreciates when acts take their work to that next level, the ethos here really excited me. Thankfully, the music on display. So does the music impress? Well, yes and no. I appreciate the scale on display and from the opener, The Mortal Dance Of Cali, it’s abundantly clear that these musicians are aspiring to create a bombastic and different sound that honours their influences in prog and metal while trying for a weird middle-eastern play on those concepts. Alas, the baffling composition or lack thereof, mixed with the questionable performances leaves much to be desired. Requiem For Salem tries to give flight to a medieval, gothic feel, yet fails to pin down the instrumental and vocal tones, that would stop the instrumental passages clashing at visceral force - the prevailing sensation is one of watching a train crash, while generic, middle-east inspired music plays in the distant background.

Burn In Hell has an extreme, metal theme prevailing, yet the gnarled vocals of Siervi, don’t so much as add to the sense of bombast, as to make Behind The Mask seem yet more embroiled in a deluded sense of epicness and grandiloquence. In fairness, this piece actually has decent piano and electric guitar breaks, and Andaluzia makes beguiling use of acoustics. However, the insistence on taunting you with excruciating extremities resumes on Hassan Tower and Forsaken Death. The worst part, when the album isn’t force-feeding you with self-importance, it's boring you with clichés and tropes. Occasionally a glimpse of ambition shows through, yet I need to be able to pick the technicalities and subtleties out from the barrage of jarring melodies and phrases, that drag these songs from the plain of competence, straight into the gaping mouth of hell. If this is only part I in their adventure epic, I wont be clamouring for the complete experience 3/10

A View From The Back Of The Room: Opeth/Vintage Caravan (Live Review By Paul Hutchings)

Opeth/The Vintage Caravan, 02 Bristol Academy

A mere 24 hours after they started their headline set at Damnation Festival 2019, Opeth (10) brought a majestic two hours to a close at the 02 Academy in Bristol with the same ferocity they had delivered the night before. The punishing Deliverance, long-time standard set closer remains one of their most loved and complex songs; a devastating blend of death metal power and progressive jazz exploration is almost un-droppable.

Why Opeth are still playing 1500 capacity venues is beyond me but selfishly I’m glad as cavernous arenas may not be kind to their need for clean sound lines. Few in the venue were popping the Opeth cherry; most were devoted fans, committed to the twists and turns of an intriguing musical journey that the Swedes have explored in nearly 30 years as a band, reaching back to those formative days before Orchid. 13 albums have given them sufficient gravitas to use the 02 screens and employ huge platforms which elevated keyboard player Joakim Svalberg, drummer Martin Axe Axenrot and bassist Martin Mendez high above the audience. Mood enhancing lighting added atmosphere throughout; the cold blue spotlights cutting an icy path for opening songs Svekets Prins and old favourite The Leper Affinity, the oldest song in the set list from 2001’s Blackwater Park; gentle warmth for Hope Leaves and a stunningly beautiful Nepenthe, drawn from the much-maligned Heritage album and the most delicate piece of the night.

And then we had Mikael Akerfeldt. Dressed to impress in Fedora, crisp white shirt and velour jacket, matched with jeans and white Adidas trainers. The ringleader, joker, frontman and all-round nice guy, who possesses a steely determination to direct the good ship Opeth in the direction he wants. Deflecting the hecklers with ease; “Have my babies” screamed one female fan. “Have you brought them?” he quips without hesitation. Later in the evening he adopts a Bercow style “order, order”, and puts a joker back in his place when challenged about hat wear. “I wore a baseball cap with the VoiVod logo on years ago” he replies, “so you are fucking wrong!” Akerfeldt is no slouch on the guitar either, trading lead breaks with Fredrik Akesson stage right for fun, although Akesson does get the rip roaring lead break on Svekets Prins as well as the dynamic solo on Moon Above, Sun Below, one of three tracks to survive from their 02 performance almost exactly two years before. Akesson deals with some pedal issues confidently, fending off the inevitable “are you ready yet?” enquiries from his fellow axe partner. Akerfeldt has the confidence to sing the songs from In Cauda Venenum in Swedish; Svekets Prins, Hjärtat Vet Vad Handen Gör and Allting Tar Slut sound amazing, Akesson and Svalberg adding perfect harmonies with Akesson sharing vocal duties on the latter track.

It’s a vintage performance combined with a fresh, modern approach. The Lotus Eater is as creepy as ever yet remains a fan favourite. My only disappointment of the evening is the change in the list of Sorceress for The Moor. But such is life and I won’t complain about an Opeth set list anytime soon.

Earlier in the evening The Vintage Caravan (9) had proved to be a wise choice of support. The Icelandic trio were also at Damnation, playing an hour long set full of joy, riffs, humour and oh yes, riffs. Pushed to the front of the stage in Bristol, nothing phased them. Their brand of classic psychedelic hard rock pushing the right buttons. Bassist Alexander Örn Númason quipping before On The Run that “this song features a bass solo, and there’s nothing you can do about it”. During Expand Your Mind vocalist and guitarist Öskar Logi Ágüstsson demonstrated exactly how to handle a broken string, a manic leap into the photography pit, racing to the other side of the stage to grab a spare guitar; drummer Stefán Ari Stefánsson and Númason holding a steady beat until Ágüstsson returned and the band picked it back up. Over 13 years in the business, The Vintage Caravan are seasoned professionals, even if they forgot completely that they had played the same City a mere 12 months before. Although the 02 was once again uncomfortably overcrowded, the audience were for the most part exemplary; no mean feat in such challenging times. As I write Opeth have just been announced for ArcTangent in Bristol in 2020. I’ll see you there.

A View From The Back Of The Room: Y&T (Live Review By Matt Bladen)

Y&T & Bare Knuckle Messiahs, Tramshed, Cardiff

So once again it was into Cardiff's Tramshed and this time it was awash with double denim and questionable haircuts as everyone got ready for the pretty much yearly visit of the Los Angeles classic rock band now on their 45th anniversary.

First though it was the support act...Cardiff based band Bare Knuckle Messiah's (4) who are a band made up of three ex-members of Tigertailz, fronted by that bands long term singer Kim Hooker augmented by JJ of the infamous band S.E.X. on bass. Now I'm going to try and be nice here and say that they were not enjoyable for me, their own songs are bog standard glam-lite, trying to sound dark and they played a two Tigertailz numbers and a song written by Pepsi Tate to make the nonplussed majority of the crowd recognize who they are. This was the band's debut show but with so much experience you could expect more.

 Anyway on to the main event which was probably the best value for money you can get in a band, 21 songs, 2 hours (just about) and slick professionalism on display from the opening riff of Hurricane to the closing anthemic Forever Y&T (8) always give a heck of a show. Now this was part of their 45th anniversary tour so the setlist was probably one of the most eclectic I've seen as they endeavoured to play at least one song from every album they have released. Of course the bulk came from Mean Streak, Down For The Count, Earthshaker, Black Tiger and Facemelter (their last studio record) but we did get one song from each album, with some real deep cuts meaning that this show was for the hardcore rather than those wanting the greatest hits. With Dave Meniketti leading from the front it's his affable manner, vocal and guitar prowess that drives this band as they move through their huge rockers like Black Tiger, Hang Em High and Midnight In Tokyo, as we got some of the poppier 80's numbers like Summertime Girls, Come In From The Rain, Face Like An Angel and Anytime At All showing his bluesy side on the early Struck Down and of course the axe magic of I Believe In You. There was a bit of between song chat mainly around the setlist and some interaction with the rowdy audience, who were putting away the beer a bit too quickly for a Sunday night, but mostly it was Y&T doing what they do best, hard rock that is laser focussed but with soul that gets you singing along, perfect rock music for a Sunday night, I will be seeing them next time I wager.

A View From The Back Of The Room: Damnation Festival (Live Review By Paul Hutchings)

Damnation Festival, Leeds University

My third visit to the festival and another cracking line-up to entice those whose tastes verge towards the extreme. The day was as exhausting as ever, doors at 12:00 and festivities ceasing some 15 hours later. In between, opportunity to catch bands whose appearances on these shores are often infrequent. A quick word about the chaotic organisation inside the venue. The absence of simple signage telling patrons which stage was which confused many including me, despite my previous visits. Security staff were unhelpful and at times downright rude, with reports of fans being refused re-admittance upon leaving the building. However, the music excelled and made the day worthwhile once more.

Matt and I spent much of the day camped out at the Eyesore Merch Stage. The 600 or so capacity sports hall offered close views, relatively decent sound and a more relaxed atmosphere throughout the day. I’d seen Alunah (8) a few weeks ago at HRH Doom v Stoner and the Birmingham outfit impressed once more. A 30-minute set didn’t allow for much due to the length of the band’s songs, but their doom-laden melancholy was the perfect lunchtime treat, with Sian Greenaway’s deep and soulful delivery as impressive as her red cat suit. Tracks from the new album Violet Hour are already established in the band’s set list, with Trapped & Bound a highlight. Finnish/English outfit Wheel (9) continued with the infectious riffing which we had last been stunned by in the Sophie Tent at BOA back in August. A recent change in personnel saw Aki Verta join the band on bass but you’d never have gathered he was the new boy with an assured and energetic performance, his bouncing locks cascading up and down as he charged around centre stage. It’s intensity to the max with Wheel, vocalist James Lascalle coiled with nervous energy and an attempt to ingratiate himself with the locals by revealing he’d been to university at Scarborough some years ago. Despite some horrific feedback and technical challenges, Wheel owned their 30 minutes and captivated the audience with tracks from Moving Backwards, surely one of the best albums of 2019.

One band I’d been especially keen to catch was Oregon’s sludge riff maestros Lord Dying (8) whose latest release Mysterium Tremendum is a magnificent opus. The band didn’t disappoint, pummelling with an onslaught of heaving riffs. Even a broken guitar strap couldn’t slow down man mountain Eric Olsen who played the set with his guitar tucked tightly under his arm whilst bassist Alyssa Morcere, all spit and fire and “fuck yeahs” roared her encouragement. Envy The End, Nearing The End Of The Curling Worm and a fiery Severed Forever from Mysterium Tremendum were stunning. A quick break from the Eyesore Stage as we headed to the bowels of the venue for 20 minutes of dark thick stoner doom courtesy of Berlin trio Earth Ship (7) on the Cult Never Dies stage. Guitarist Jan Oberg’s rasping vocals and raging guitar work were well worth the amble down the corridor, with bassist Sabine Oberg laying down the thunder with drummer Sebastian Grimberg. Whilst unfamiliar with their material, you can’t go wrong with good thick doom riffs and Earth Ship possessed these in spades. One to look out for again.

Grabbing a sustaining pasty and an overpriced beer, we hot footed it back to the Eyesore stage to catch Jo Quail (7) deliver something a little different. The internationally acclaimed composer and virtuoso cellist strode confidently onto the stage to a packed room. Her innovative looping style combined with her avant garde style and approach allowed a welcome breather, but the intensity remained high. With the crowd respectful in their silence whilst she played, Quail confidently moved through a couple of pieces before introducing Nick Sampson to join her on stage to play Madrel Cantus. An interesting performer, Quail is worth catching. Our first forage into the Jagermeister Stage saw Primordial (7) running later than advertised. A lengthy sound check had hopefully ironed out the gremlins but no, a mere one verse and chorus into the epic Nail Their Tongues and the power died, leaving frontman AA Nemtheanga bemused. To their credit the band addressed the issues quickly and soon elevated the temperature in the venue with their high impact aggressive primordial metal. The delay meant missing a good chunk of the Irishmen’s set but that was a price worth paying as we crammed into the Eyesore Stage once more for A Pale Horse Named Death (8). The New Yorkers were stunningly good, with frontman and driving force of the band Sal Abruscator humble and enthusiastic, his mournful vocals fusing with the band’s gothic leanings. Joe Taylor took the take stage left and add to the three-guitar onslaught. Earlier this year the band released When The World Becomes Undone, and it was no surprise that several songs were selected from this release. Captivating from start to finish, A Pale Horse Named Death deserved their massive ovation.

Cramming back into the main stage for Alcest proved a poor decision, the French outfit’s intense post metal riffing failing to capture the usual atmosphere they generate in smaller, more intimate venues. We grabbed another drink and headed for the Eyesore once more, in time to watch the arsing around of Icelandic trio The Vintage Caravan (9) through their soundtrack. Egged on by their sound engineer, the band powered through some ridiculous renditions of Careless Whisper as well as tracks by The Police, Paul Simon and a montage of Toto. When we’d finished laughing, the band exited before returning to provide possibly the most enjoyable set of the weekend. High energy from start to finish, the two ‘outfield’ members of the band, Alexander Örn Númason and Öskar Logi Ágüstsson proved to be as comedic during their main set as they were during the soundcheck with numerous little quips which had the audience chuckling loudly. The Vintage Caravan’s riff propelled psychedelic classic rock sound appears simple, the hooks and riffs snaring you with ease. But the band work incredibly hard to do this and tracks such as Babylon, On The Run, Expand Your Mind and the sing-a-long to Midnight Meditation all ooze class and quality.

Class and quality have never been in question when it comes to Opeth (9). Four dates into their latest European tour, the Swedes were slowly easing into their set list. A boorish crowd fuelled by all-day drinking heckled and crowd surfed from the opening bars of Svekets Prins, their limited knowledge of the new material a little frustrating to the hundreds of Opeth fans in the crowd. Once more the behaviour of some fans left us bemused, as people forged their way to the front way after the show had commenced; no excuse me or thank you, just a shoulder barge and a God-given right to get to the position they wanted regardless of everyone else. It’s one reason why larger gigs are becoming less attractive as I get older. On stage, Mikael Akerfeldt handled the barracking with his usual droll delivery. Restricting tracks from In Cauda Venenum to Svekets Prins and Hjärtat Vet Vad Handen Gör allowed old favourites The Leper Infinity and Harlequin Forest to please the old school, even inciting a few skirmishes in the pit.

The inclusion of Nepenthe from Heritage was a brave decision and beautifully delivered, a demonstration that if there is one band who will choose their own set list then it is Opeth. Still, some things are predictable, and the crushing Deliverance as the final song ensured those still thirsting for the heaviest Opeth were sated. It might not have been the most impressive performance I’ve ever seen from the Swedes but there is no such thing as a bad Opeth show. They are enormously impressive as a unit, with the additional vocal support from Fredrik Akesson and Joakim Svalberg adding harmony and melody. And that was that. Another Damnation Festival closed. It’s a great festival and with a bit more tweaking, it could be even better.

Reviews: King Hiss, Lamassu, Horizon's End, Life Of Agony (Matt, Paul H & Alex Swift)

King Hiss: Earthquaker (Self Released) [Matt Bladen]

Belgian band King Hiss take their name from the villous king of the snakemen in He-Man and the Masters of the Universe, but unlike their name they are not at all slithery, it's actually quite the opposite as this is an album of rock solid stoner riffs. Belgium has quite a pedigree when it comes to stoner rock so it's only fitting that they would produce a band like King Hiss. Earthquaker is their third full length album and it's a record that deals with "the story of modern man, our protagonist loses all his bearings in an overload of stimuli, feeds his thoughts on the delusion of social media and walking a thin line between manipulation, stereotyping and polarization" so it's a record that deals with what a massive clusterfuck the world is at the moment, as we can all relate to the protagonist.

King Hiss guide us through with some heavy riffs from Joost ‘Josh Fury’ Noyelle (guitars) that right balance between being technically impressive and primal. He gets the back up from Dominiek ‘Visioene’ Hoet (bass) and Jason Bernard (drums) meaning Revolt! punches you in the guts as it rampages along urging you to "stand your ground" before exploding into guitar solos as explosive as a firework display. Singer Jan Coudron’s expressive voice lives every single lyric his wide range perfect for when he needs to roar, shout or croon as the band switch between stoner grooves of Butcher, classic rock bounce of Kilmister and doomier sounds such as GTWHR. Earthquaker is tough, intelligent record from the Belgian riff monsters, that gets the head nodding and the mind thinking. 7/10

Lamassu: Into The Empty (Self Released) [Paul Hutchings]

Haunting, despair ridden vocals ride over a deep throaty doom stomp on Lamassu’s debut album, Into The Empty. The Australian four-piece play it heavy, with lumbering tracks that traverse from pulsing stoner songs to almost funeral paced crawling, for example, Under the Watch of a Crow. From the opening bars of Chokehold Companion, all sombre desert doom with Chris Fisher’s Cornell-like plaintive cries, through to the bass heavy intro of closing track I Die, a rumbling, lengthy voyage which subtly pummels at the senses whilst clean layered harmonies hover over thundering heavy riffs, there is more than an element of Soundgarden here. At times spine breaking in its intensity, Into The Empty is a pulsating piece of work. 7/10

Horizon's End: Skeleton Keys (Steel Gallery Records) [Matt Bladen]

Yet more progressive metal this time from Thessaloniki with the recently re-activated Horizon's End. This album was recorded between 2013 and 2019 but it has taken this long to see the light of day. So is it any good? well it opens with 7 minute instrumental and closes with a 22 minute track so it most definitely in the progressive realm, though Horizon's End are in the prog/power metal realm as the virtuoso guitar playing is augmented with classical keys and some galloping heavy riffs from the rhythm section. You get to know the instrumental players on this album quite well as it goes almost 10 minutes from the start of the album before you hear any vocals and every track has elongated sections ready for solos and numerous time signature changes, take a number such as Land Of Decay, it's the shortest track on the album but still has break for a fluid guitar solos in the middle of it.

If I was making comparisons I would say they sound a lot like Shadow Gallery or Fates Warning as the keys undercut the melodic metal riffs. Vocally it's pretty good with the lower tones of Vasilios working well as Beast In Black's Yannis Papadopoulos lends his pipes to two tracks but it's the backing compositions that really see this album sparkle especially when they can keep your attention on the final 22 minute colossal closing number. Skeleton Keys is a good prog/power metal album from a Greek band who are now in the second part of their career and coming up with some very strong material. 8/10

Life Of Agony: Sound Of Scars (Napalm Records) [Alex Swift]

Specifically drawing on the ferocious, angered side of Grunge perfected by acts in the vein of Alice In Chains and Stone Temple Pilots, Life Of Agony powerfully channel the angst suggested by their name, despite not making originality their focal point. Scars open convincingly, the down-tuned distortion and thrashing guitars, initially making me question if this is a grunge album at all until Mina Caputo’s dingy vocals roar in and the anthem takes on a stamping rhythm. Lay Down is similar in tone. The emphasis on stints of tension contrasted with sections of brooding melancholy, certainly proves exciting, if slightly repetitive after a while. No doubt there are elements of metal, or even classic rock here, yet a seething moodiness underpins the entire experience. These ideas are continued onto Black Heart where the fast-paced chugging, makes for a throttling hook to the track, while the melodies and bass work makes for an entrancing atmosphere.

Empty Hole is where the record starts to become tiresome. It comes right after an interlude which contributes nothing, and while the more upbeat nature is beguiling, it does not make up for the increasingly noticeable presence of the muddy production – a problem which wears on throughout most of the back half of the album including on closer Weight Of The World and Surrender. Don’t misunderstand me, I realise that in this genre, retro production and an aversion to cleanliness is sort of the point yet that was classically compensated for by fantastic songwriting and production value, which while respecting the artists ‘authentic approach’ to songcrafting, also brought out their strengths – ‘Ten’ anyone?, ‘Dirt’ going-going gone! How about ‘Nevermind’? The Sound of Scars is far from a bad piece.

It’s very well performed indeed, and the band clearly has a love for their home genre and all associated styles. Still, there is still a pretty bad case of same old syndrome going on here, and until Life Of Agony can incorporate reinvention into the mix, or simply fix the issues which are holding them back from truly replicating the Seattle sound, I will continue to find a myriad of excuses not to return to their music, 6/10

Reviews: The Flower Kings, Helloween, Hideous Divinity, Une Misère (Matt, Paul H, Alex & Rich)

The Flower Kings: Waiting For Miracles (InsideOut Records) [Matt Bladen]

Currently made up of the current touring line-up band leader Roine Stolt, along with Jonas Reingold, Hasse Fröberg, Zach Kamins & Mirko DeMaio Waiting For Miracles is the 14th studio album from progressive rock titans The Flower Kings. As many of you who have read this blog, or indeed any music based media will probably know Stolt is a workaholic, with barely a year going by that he doesn't release a project, sometimes more than one a year. So where does Waiting For Miracles stand in this extensive back catalog? Well first it's a weighty record, spread across two discs and 15 songs this is prog at its most overblown, Stolt has said that on this album that "more is always more!" huge instrumental swathes are brought about by vintage keys/organs and stirring elongated guitar solos as the songs have mixes of  pop, rock and symphonic as Ascending To The Stars shows with it's cinematic bravado showing through.

The album was recorded in the RMV studio in Stockholm, Sweden which is a vintage studio owned by ABBA's Benny Andersson, it means that this is distinctly old school sounding album that comes from The Flower Kings earlier years as Wicked Old Symphony brings some excellent keyboard work and a Beatles vibe, as the rock quota is upped by Miracles For America, The Bridge meanwhile the beautiful The Bridge is an emotional ballad. There's a whole host of sounds here and this is just the first disc, Waiting For Miracles deals with a lot of environmental and socio-political themes but wrapped up into a mainly upbeat prog box where there is a massive sound and colour palette. As the last album was essentially a Stolt solo record it's great to hear Hasse Fröberg and Jonas Reingold back providing vocals and the trademark thick basslines. The Flower Kings are essentially a group of hippies playing experimental music that brings to mind the archetypal acts like Yes, ELP or even Marillion. Symphonic, pop-minded and experimental Waiting For Miracles is another worthy addition to The Flower Kings discography. 8/10 


Helloween: United Alive In Madrid (Nuclear Blast) [Paul Hutchings]

Two and a half hours of live power metal. Some people would class this as heaven; others as hell. Whatever your persuasion, this endurance event proves that Helloween, one of the most influential European metal bands of all time, can still cut it live. The furore over the Pumpkins United tour (e.g. continual demands for them to play Bloodstock for the past few years) saw the Germans play a meagre one date in the UK on their 69-date world tour. Captured in the 14,000 capacity Madrid Arena on 9th December 2017, United Alive In Madrid sees Michael Kiske and Kai Hansen join the current line-up of Helloween for a trip which mainly travels down memory lane. If you lived through the emergence of Helloween as a major force in the 1980s, then you’ll know that the seminal Keeper Of The Seven Keys Part I and Part II albums were essential listening.

The lyrics are ridiculous, the concepts inflated and overblown and yet Helloween remain the epitome of how power metal should be delivered. Duelling guitars, turned down melodies, insane speed and soaring vocals. The highlight of this searingly hot album for me isn’t the incredible 13-minute intro of Halloween, the 17-minute anthemic Keeper Of The Seven Keys or even the triumphant conclusion of I Want Out but the Kai Hansen melody about one third of the way through. Starlight, Ride The Sky, Judas and Heavy Metal Is The Law transport you back to 1984 and the pre-Kiske Helloween Walls Of Jericho album. This would have been worth the admission alone. Elsewhere, Kiske and Andi Deris trade vocals, Kiske’s higher pitch dealing with the earlier compositions more comfortably, although after all this time it’s astonishing that either can hit the heights they do. As live albums go, this is decent stuff, albeit no doubt edited heavily. If you’ve never listened to Helloween before, this is a fabulous introduction to a legendary band. 8/10

Hideous Divinity: Simulacrum (Century Media Records) [Rich Oliver]

Simulacrum is album number four from Italian death metallers Hideous Divinity. A band I have heard the name mentioned before but never previously checked out. Hideous Divinity play a style of death metal that straddles the line between technicality and all out brutality. The album rarely lets up from the moment you hit play and is a barrage of insane riffage, guttural vocals and bludgeoning rhythms. Unfortunately with everything at such extreme levels it is very easy to become desensitised to it all quite quickly and the album does all seem to blend into one brutal cacophony. There are odd moments of atmosphere and even little hints of melody at certain points but nothing is truly memorable. The musicianship is at ridiculously high levels that can’t be denied but there’s a distinct lack of memorable moments through Simulacrum. Those who love their death metal at ridiculously intense levels will probably lap this up but my tastes are far more old school and I prefer much more groove and filth in my death metal. Can’t fault the performances and the execution of the music but it’s just not really to my tastes. 6/10

Une Misère: Sermon (Nuclear Blast) [Alex Swift]

If the name didn’t convey the fury and darkness which Une Misère makes their master than the music definitely will. Their style of Hardcore comes straight from the school of Converge or Employed to Serve. Sin and Guilt throw down the curtain with trouncing beats, biting guitar passages which deal in ferocity and harsh, guttural, screams. Sermon introduces us to the more rhythmic side of the band, the fuzzy, trooping bass and guitars, and huge drums creating a sense of magnitude. With the emphasis on cohesion becoming increasingly apparent, Overlooked/Disregarded is given its sense of presence through the colossal melodies, emphasizing a flair for the dramatic. Next up, Suffering enchants with a riff which spirals its way across the fretboard with precision and skill – a shame, perhaps that this isn’t utilized to greater effect throughout the song, yet this proves an issue from start to finish. 

While Une Misere has an acute understanding of songcrafting which allows them to bridge the divide between artfulness and aggression, their anthems often feel made up of disparate ideas that stumble their way into songs without any rhyme or reason. In some cases, this can make for an excellent experience – take Failures which excels through its unified yet erratic nature. However, look to pieces in the vein of Damages, and you begin to feel estranged by the lack of commitment to the genuinely great ideas hidden within them. Don’t get me wrong, chaos is a cornerstone of hardcore be that of the metal or punk variety, and when in the right hands can be transformed into a powerful musical tool. Listening to Sermon it's abundantly clear that these musicians are well on their way to becoming adept at that balance, and just need the ambition to stop their works descending into repetitive, mundane or predictable territory. 7/10

Reviews: ELO, Democratus, Saint Deamon, Cell (Matt, Rich & Val)

Jeff Lynne's ELO: From Out Of Nowhere (Big Trilby and Columbia Records) [Matt Bladen]

Don't worry pop pickers Chris Evans favourite band in the world haven't covered Faith No More. No From Out Of Nowhere is the Birmingham purveyors of symphonic rock newest...perhaps unexpected album. This is partly due to band leader Jeff Lynne taking semi-retirement several years ago. Though they released a record in 2015. However in recent years the he has returned to the ELO mothership for festival headline slots and tours to much critical acclaim and there is clearly an audience still there for the premier purveyors of multi-layered pop rock. This reinvigorated interest in the band is noted on the bouncy One More Time and Time Of Our Life, which is actually about their huge Wembley show. If you can call From Out Of Nowhere anything that that would be upbeat, it's a generally friendly sounding record that doesn't bring you down or get rid of those blue skies from years ago. It's awash with love songs from the off delivered by Lynne's smooth vocal and backed by the multi-tracked ELO magic. There's also a few nods to old friends with a pinch of Petty and a handful of Harrison sprinkled throughout the record Down Came The Rain and Help Yourself being the most obvious, but at its heart this is classic ELO down to the ground, it won't win over anyone who has never liked the band but it is a prime slice of symphonic power pop! 8/10

Democratus: Damnation EP (Self Released) [Matt Bladen]

So the South Wales Metal 2 The Masses 2018 winners return with their second EP Damnation it's been a a while in development and since that win the band have seen some line up changes as guitarist Kerrin Beckwith has stood down being replaced by Richard Rees on guitar. The rest of the band remains the same with Zak Skane behind the kit, Stu 'Spoon' Rake on bass, Joey watkins on guitar and the South Wales motormouth himself Steve Jenkins on vocals. The EP was produced by Kerrin along with Michael Buffery (King Ibex) who also mixed and mastered the release. It's immediately clear from the opening Is This Fear that the numerous high profile support slots and tours have sculpted this EP into much heavier place than the band have ever been. Jenkins is using his harsher vocals style for much of the release, they have also added more progressive touches with this opening track changing timings a couple of times.

The same cannot be said about BTK (Bind Torture Kill) a song about serial killer Dennis Rader which will be familiar to anyone who has watched the band live, on this EP though it's far heavier with grinding riffs as Jenkins grunts over the downtuned musical backing. Next is the title track which has been out for a while but still jumps out with a clean/harsh dynamic and some noodling leads on top of Spoon and Zak's thick heavy rhythm section. The final number is the thrashier Dead Without Dying which ends the record with you seeing where the band are heading going forward, this is Democratus sounding heavier, nastier and more hungry than before. Look out for their debut album next year but for the moment this is a snapshot of the Democratus of 2019. 8/10

Saint Deamon: Ghost (Ram It Down Records) [Rich Oliver)

Saint Deamon is a name I haven’t heard in a while and it was a very pleasant surprise to hear that they had a new album out. Saint Deamon impressed power metal fans everywhere when they exploded out of Sweden with their brilliant debut album In Shadows Lost From The Brave back in 2008. Another great album followed in 2009 with Pandeamonium and then everything seemed to fall silent and I assumed the band had split. 9 years later and Saint Deamon have returned seemingly out of nowhere with their third album Ghost and they have lost none of their potency.

It is very much the melodic power metal style of the previous two albums but the band have also incorporated a massive progressive influence into their sound resulting in an album that at times is as complex and intricate as it is catchy and melodic. The songs themselves are nicely varied from the anthemic such as Captain Saint D and Higher to speedier songs such as Return Of The Deamons and Land Of Gold, the classic prog leanings of Hell Is Calling and the dark prog power of the title track.

There is a lot going on throughout this album and with a 71 minute duration and 14 songs it is a mammoth listen. With a high number of songs some do fall by the wayside and get overshadowed by the stronger songs on the album but when this album is at its strongest it is utterly fantastic. The band are firing on all cylinders and the vocals by frontman Jan Thore Grefstad fail to disappoint. With a bit of trimming here and there and a reduced album length this could be one of the top albums of the year but it falls just a bit short. Still a fantastic listen and one that should not be missed by the power metal fans out there. 8/10

Cell: Ancient Incantations Of Xarbos (708085 Records DK) [Val D'Arcy]

For the second time in as many weeks I find myself commenting on the increased dosage of Canadian metal for the world to consume. Indeed, here we are with three-piece Cell and their second album, Ancient Incantations Of Xarbos. Not entirely sure who Xarbos is and I'm not about to Google it so I can tell you, for the sake of looking knowledgeable; I have no idea. What I can tell you, is that this is a really enjoyable romp of an album. The intro sets us off on the well trodden path of screams and synthesised winds; all good intro material of course, but mildly cliche. Nevertheless a good intro, which takes us into a rather slow paced, plod of a riff that says, I'm going to be a doomy kind of album. Fortunately, as I roll my eyes and toggle the display on my Discman to see how much of this album I must endure, a drumroll breaks out and the track launches into a ferocious torrent of Blackened Thrash riffs (that's definitely more like it). The production has a somewhat gritty and primitive edge to it which suits the style well, reminiscent of the First Wave Black and Speed Metal bands of the Eighties. There's a Venom-esque tongue in cheek vibe with some of the darkness of Sarcofogo thrown in.

In fact, there's a real mix of musical styles scattered across these eight tracks ranging from the distinctly Death Metal riffs to be found in The Wailing Sea Of Emptiness and God Of The NetherRealm, to the straight up Eighties, Canadian Thrash sound of the final track, Altering Matter In The Realm Of The Frost King. Indeed the solo in the aforementioned could be right out of a Razor track. I don't want to (entirely) fall into the trap of comparing the songs to something similar, relatable, because this is sufficiently unique to do without that. That's not to say there's anything groundbreaking or new here stylistically, it's all familiar stuff when stripped back to its component parts. A bit of Black, some Melodeath, some Blackened Thrash, some Doom. What I do like about it, is that it doesn't feel like these guys have intentionally set out to create some wild concoction in an attempt to be different. I really don't get the impression that they sat up one day and said, you know what? No one's done melodic blackened doom death thrash yet, have they? It has a genuineness to its songs, like a bunch of guys jamming random tunes, rather than a pretentious attempt at a new sub genre and the end result is a lot of fun. As an album, it doesn't necessarily flow from start to finish with sufficient continuity for my liking, but enjoyable enough as individual tracks. 6/10