Reviews: Verthebral, Dawn Of Disease, Rhodium, Tribe Of Ghosts (Rich, Manus & Matt)

Verthebral: Abysmal Decay (Transcending Obscurity Records) [Richard Oliver]

One of the joys of this reviewing lark is discovering bands from countries you didn’t realise had a metal scene. It’s known that South America has a fervent and devoted base of metal fandom but when you think of metal in South America you generally think of countries such as Brazil and Chile so it’s very promising to hear some absolute kick ass music coming from Paraguay in the form of death metal band Verthebral and to hear music this damn good. With their second album Abysmal Decay Verthebral have one mission statement and that is complete and utter savagery.

Verthebral don’t break the wheel by any means when it comes to death metal but just play what they know at an astonishing level. This is death metal very much in the vein of relentless old school brutality such as bands like Cannibal Corpse and Blood Red Throne. The album is aided by a huge sound with a savage guitar tone and a production that is equally raw but also absolutely massive sounding. These songs positively leap out of the speakers and grab you by the throat. It is pretty much a non stop bombardment of cut throat riffing and rhythmic demolition overseen by the thick and intensive roar of frontman Cristhian Rojas.

This album rarely gives you time to catch your breath with the only moments of calm being the acoustic interlude Obsidian Tears and the unusual acoustic section of The Art Of Perversion. The rest of the time it is armageddon for your senses with brutal tracks such as Coronation Of Envy and Testament Of Hate. Abysmal Decay is a phenomenal death metal album by a fantastic band from a country I have previously never heard a single band from. Maybe Paraguay has more metal gems hidden away to be discovered. 9/10

Dawn Of Disease: Procession Of Ghosts (Napalm Records) [Manus Hopkins]

Germany’s Dawn Of Disease are back with a strong effort for full-length album number five. The combination of brutality and delicateness is uncanny, but still seems to be pulled off effortlessly by these talented musicians. The songs are no doubt heavy, but even with chugging riffs, booming drums and aggressive, growled vocals, there’s still a sort of fine beauty to each song, contrasted expertly with the heaviness. The album has a good cohesiveness to it as well, with each song almost naturally leading to the next. Not to say this is a full-blown concept album or anything, but it definitely has a nice flow to it that all bands should aim to have on their albums. Because of its dual nature, this album would work in pretty much any setting, and it’s worthy of a spot in any melodeath arsenal. 8/10

Rhodium: Sea Of The Dead (Sliptrick Records) [Matt Bladen]

Rhodium have only been a band since 2017 but Sea Of The Dead is their second album, with their first being released last year. Now Rhodium are a little bit different to most bands, yes this Greek progressive power metal play the kind of music Helloween originated back in the early 80's, in fact singer Mike Lee is in Keepers Of Jericho a Greek Helloween tribute, thus why he squeals like Kiske at his best. They have brought it in more modern sounds without sacrificing any of the that classic metal melody. Now they are different in the way that Mike is not the bands lyricist that honour falls to Aspa Feanor who draws from numerous themes for the bands songs all linked with the idea of "man and his battle for survival."

Here A Path Of Wrath and Man Of Honor deal with paedophillia, the title track is a tribute to the many who died in the Aegean Sea fleeing Greece, she also has historical themes on The Emperor which is about Emperor Konstantinos Palaiologos. So a very eclectic lyrical base for these songs means that musically they have to live up to it and thankfully they do as Man Of Honour speeds out of the speakers with a thrash sound before Delirio brings a more modern sound as Mike shows his wide vocals range, once again this appears on First Light Of Day which could be a Nevermore song as Loukas Wolv and George Theofilas trade guitar riffs and solos as the rhythm section of Vasilis Sotiriou (bass) and Stelios Pavlou (drums). The mid point of the album is the epic The Emperor which is a cinematic song where the whole band show off their chops as Sister Of Fate features some soprano vocals in a great duet. If prog power metal with a powerful singer and riffs on the heavier end are your bag then I suggest you seek out this Athenian band, I really enjoyed this album which is a far too advanced for just a second release. 8/10  

Tribe Of Ghosts: EP 1 (Self Released) [Matt Bladen]

This EP is the first musical stirrings of Tribe Of Ghosts, a band that employs deafening post-metal soundscapes, full of film samples, ambient waves and crushing riffs. The band features Adam Sedgwick formerly of King Leviathan and he has brought his keen ear for misery to this new band which also features his wife Abby on drums as well as Ben Kitching (bass) and Rob Kuhler (guitar). This three track EP deals with mental health and recovery, channelled through some very loud noise and brooding songwriting. It opens with Ruination which drags it's knuckles across the floor as the samples play over the distortion, it moves into a nice quiet/loud dynamic for the main part of the song as Adam shows off both his emotion drenched clean vocal and the harsh screams as the song writhes into various forms that are all bubbling with rage below the surface.

Sunburner brings more ambient sounds in it's middle section but it also has a very thick chug to it as it climaxes, leading into Nemo which is probably the most straightforward song here built on big riffs and a relentless drum beat. Though it does move into sparse ambience in its middle section as things build again with yet more samples before the cathartic shouts ends the track. You can hear the outright passion in these three tracks, Tribe Of Ghosts clearly have an affinity for loud noises and the more experimental side of metal music, on the back of this EP I will be keeping an eye on this band as they continue to mature as a unit. You should too if post-metal is your bag. 7/10    

Reviews: Lindemann, Edenbridge, Junkyard, Hyperborea (Paul H, Matt & Rich)

Lindemann: F & M (Vertigo Berlin) [Paul Hutchings]

Four years after Skills And Pills was released, F & M heralds the return of Rammstein’s Till Lindemann and Hypocrisy/Pain mastermind Peter Tägtgren and album number two for Lindemann. Unlike Skills And Pills, Till delivers the whole of this release in German. As to be expected, the finished product is polished and neatly produced. The deluxe version includes a Pain version of Ach So Gern and the original version of Mathematik. Now without being super lazy in my analysis, the betting is that if you are a fan of Rammstein, then this album with its fusion of industrial rock and metal will appeal. Tracks like the pumping opening song Steh Auf (Stand Up), the brooding Blut (Blood) and the sinister Knebel (Gag) are both familiar and different to the standard fare offered up by the Rammstein family.

Knebel in particular with Till singing against a single acoustic guitar provides a different approach until a huge riff kicks in and the whole thing gets a bit angsty. The title track is one of my favourites, an underlying Mexican pop feel which makes it almost joyous. There are a few curved balls mind. Ach So Gern is an old school foxtrot, as bizarre as it is infectious, whilst Schlaf Ein (Go To Sleep) could be beautiful or horrifying. Take your pick. If you dislike the coldness and clipped way in which Rammstein and Lindemann deliver their music, F & M won’t change that one bit. However, if you like your industrial with a bit of craziness and a bit of the circus bizarre, this album will certainly be in the list for an essential purchase. 7/10

Edenbridge: Dynamind (Steamhammer) [Matt Bladen]

I know what you're thinking another day, another symphonic metal band with a female singer right? Well Dynamind the latest album from Austrian band Edenbridge who have been in this game since 1998. They are part of the original wave of bands of this type, though it was Nightwish that broke out into the big time, it's Edenbridge who have stuck most rigidly to the sound pioneered by these bands it means that the songs are still driven by the soaring vocals of Sabine Edelsbacher while Arne "Lanvall" Stockhammer provides guitars, keyboards and orchestrations. These are all present from the beginning with the heavy Memory Hunter kicking things off as On The Other Side brings the folky sounds as Sabine's vocals lead the charge not as operatic many in the genre it's still powerful and dramatic on the galloping All Our Yesterdays as the The Edge Of Your World brings thicker progressive metal sounds similar to fellow Austrians Serenity, which continues on The Last Of His Kind a 12 minute epic, as Tauerngold is the album's big ballad. So yes it is another symphonic metal album with a female singer but Edenbridge are one of the originators of this style of music and they have stuck to it meaning that they are still in the upper echelon. 7/10      

Junkyard: Old Habits Die Hard (Acetate Records) [Paul Hutchings]

It was just over a year ago that Junkyard kicked open a can of whoop ass as main support to Blackberry Smoke at the Tramshed. Their punk-fused Country rock got the place warmed up a treat that night before the main event. Having released their first album in 26 years in 2017 with High Water, they’ve clearly got the bit between their teeth with Old Habits Die Hard arriving a mere two years later. The band has picked up where they left off, from the sleazy Blue Sin which allows David Roach to do his best Bon Scott impression through to the powerhouse adrenaline rush of Fall To Pieces, all muscular spit and brawn. I Come Crawling borders on Nirvana style grunge whilst One Foot In The Grave closes the album in traditional fiery style. Good fun when driving fast, excellent for working out to, Junkyard’s punchy songs are certainly worth a listen. 7/10

Hyperborea: Umbra (Art Gates Records) [Rich Oliver]

Umbra is album number three from Bulgarian death metallers Hyperborea and it is also their first album since 2007. The band have a clear love of old school death metal but mixes that with a more contemporary death metal sound ensuring that this album isn’t just pure early 90’s death metal worship. The band mix it up with varying tempos mixing the speed, aggression and brutality with plenty of groove and even some more progressive, technical and melodic moments. Hyperborea certainly don’t sit still on this album with the highlights for me being the relentless Silent Stream and the melodically leaning Atavistic Fear. Umbra is a very solid and enjoyable death metal release which whilst not breathtaking certainly got my head nodding. 7/10

Reviews: Taylor Hawkins & The Coattail Riders, Tygers Of Pan Tang, Angel Sword, Northerion (Paul H & Rich)

Taylor Hawkins & The Coattail Riders: Get The Money (Colombia) [Paul Hutchings]

I’ve never especially liked Taylor Hawkins. I have no basis for this dislike other than he’s a genuinely good drummer, he’s got rock star looks, he drums in a band where he’s almost as good as the frontman who still allows him sing during their shows, and he keeps appearing in virtually every rockumentary ever produced. He’s also friends with huge swathes of rock royalty and he’s drafted in some big guns on the third album which he’s produced with The Coattail Riders.

As much as I am reluctant to say it, Get The Money is a massively enjoyable album. Plenty of Queen style harmonies as expected, but The Beatles feel of CU In Hell where he duets with LeAnn Rimes is unexpected. Alongside Chris Chaney (bass), Nate Woods (guitar and vocals) And John Lonsteau who produced the album with Hawkins, we get Dave Grohl, Pat Smears, Roger Taylor, Duff McKagen, Nancy Wilson, Chrissie Hynde, Joe Walsh and Perry Farrell. Middle Child features Grohl and has a delicious Cheap Trick flavour whilst the electro pop of Kiss The Ring is as self-deprecating as they come. Get The Money starts softly but soon succumbs to a gentle reggae beat, unsurprising given Hawkins’ love of The Police, Hynde’s smoky vocals combine with Hawkins own tones along with a neat bit of guitar from the Eagles veteran Walsh.

I could do without the Yardbirds cover of Shapes Of Things which features Queen’s Roger Taylor and fellow Foo Fighter Pat Smears, but it’s okay as covers go and you can feel the fun oozing out of the speaker. Elsewhere Mark King pops up on Queen Of The Clowns, and the short sharp I really Blew It sees Dave Grohl, Hawkins and Perry Farrell go for it big time. Get The Money is a quality release. Plenty of variation, pop mixed with rock and yet one more reason to despise Taylor Hawkins. 8/10

Tygers Of Pan Tang: Ritual (Avalon Label) [Paul Hutchings]

Their 2016 eponymous release was a reasonable affair; I gave it a 7/10 at the time and Ritual continues the ride. The Tygers line-up remains stable, guitarist Robb Weir at the helm, along with Micky Crystal on guitar, bassist Gavin Gray, drummer Craig Ellis and Jacopo Meille on vocals. The album starts in rip roaring style, Worlds Apart a crashing melodic metal track which gallops along. First single Destiny is clearly aimed at radio airplay, another melodic fist pumping song that has enough hooks to be memorable. (It also features the song on a car radio as an intro, and we all know that there is only one song that should have this style of intro, and that is Detroit Rock City by Kiss).

Spoils Of War stands proudly as the centrepiece of the album, a solid emotive track followed by White Lines, its typical 80s intro leading to a song about life on the road rather than cocaine use. The Mandatory ballad Words Cut Like Knives follows, as usual a ghastly affair which begs the question why bands bother doing these songs. The remainder of the album is rather generic although the nearly eight-minute Sail On bucks the trend, a brooding simmering track and is possibly the best track the band has written for a long time. The reworking of 1980s Don’t Touch Me There from Wild Cat closes the album and has all the class its title suggests. It’s classic Tygers. The fact that the band continue to work and produce music is to their credit. Robb Weir’s drive undeniable. This is a genuinely decent hard rock album. 7/10

Angel Sword: Neon City (Self Released) [Rich Oliver]

Neon City is the second album by Finnish NWOTHM (New Wave Of Traditional Heavy Metal) band Angel Sword.  Much like the vast majority of other bands in this genre they play old school heavy metal like it is still 1982. A loving throwback to the heavy metal pioneers of yesteryear. Angel Sword don’t particularly have anything about them to make them stand out but Neon City is simply just under 32 minutes of competent old school heavy metal. The songs are punchy and anthemic with plenty of twin guitars and the gruff vocals of Jerry Razors who sounds like a cross between Chris Boltendahl and Rock ‘n’ Rolf with hints of Udo Dirkschneider and Lemmy. The main influences here are NWOBHM bands and a considerable influence from Judas Priest. It’s not original by any means but like all the other NWOTHM bands it is a homage and a throwback to the glory days of heavy metal. A perfectly enjoyable listen for those who love old school heavy metal. 7/10

Northerion: Sky Above // Sea Below (RecordJet) [Rich Oliver]

Northerion are a heavy metal band from East-Frisia in Germany and Sky Above // Sea Below is the second album from the band. Described as a melodic heavy metal band Northerion incorporate a lot of different influences into their sound from classic heavy metal to power metal to melodic death metal to folk metal. This is a real mixing pot of sounds and styles which sounds good on paper but unfortunately isn’t delivered too well. There are two things really holding this album back - the first is the sterile and flat production which sucks the life out of pretty much every song on the album and the second are the vocals by Tim Grögor which have absolutely no passion or enthusiasm to them whatsoever. It really sounds uninterested and just like he cannot be bothered.

 The songs themselves are generally lifeless and boring but there are a couple which stand out above the rest. Valkyries Wings and The Omen Of Fire are the more melodic death metal inspired songs of the album and they have much more energy and urgency to them and also have some added harsh vocals (which also aren’t too good). Sky Above // Sea Below although played well is just a rather dull affair. Aside from the two songs previously mentioned there was little that caught my interest. Apart from the odd moment here and there the rest of the album in general just failed to inspire much of a reaction from me. 4/10

Reviews: Skyblood, Blood Eagle, Agnostic Front, Sorgelig (Matt & Manus)

Skyblood: Skyblood (Napalm Records) [Matt Bladen]

Skyblood is the debut solo album from vocalist Mats Leven who has lent his voice to bands like Candlemass, Therion, Yngwie Malmsteen and is a frequent collaborator with Firewind guitarist Gus G. It has been in works for a while now, as he is kept busy with other projects, Leven has said that this album represents him as a musician and the theme is to "Wake up to the truth, the dark and hypnotic" As soon as a saw this I wondered what sort of style of music it would be due to the eclectic nature of Mats work, well it seems he has thought he same thing by throwing various different genres from classic metal to doom, melodic rock to industrial metal, into one big progressive crock pot and stirring it into one big politically charged record, that thematically reminds me of Queensryche on opener The Voice which displays Mats incredibly versatile vocal prowess as he rages, The Not Forgotten is more doomy, with choral swells and a huge chorus hook. 

The album was recorded/mixed/produced by Leven himself and he's done a great job here compiling the performances from the numerous guest musicians to make these songs complete ready for his Kiske/Tate/Sammett styled croaking lows and soaring highs on the dramatic Once Invisible which is built upon a a persistent piano. This is a very dark, mature metal album from Mats Leven, it dwells in darkness revealing some glimpses of light, it is an angry rallying cry against the current state of the world with a dramatic metal background. If you have any interest in Mats Leven's vocals or any of the bands he's been in then you'll find a lot here to enjoy but if not it won't change your mind, still a worthy addition to his catalogue. 8/10

Blood Eagle: To Ride In Blood & Bathe In Greed III (Nuclear Blast) [Matt Bladen]

So finally the third part of Danish Supergroup Blood Eagles trilogy of EP's that make up their debut album is released. The previous two have moved from old school nasty death metal on the first part into the more modern style on the second. So I was interested where they were going to go on this the final part of their debut release. It all kicks off with A Life That Rots Away, a thunderously heavy number with some more crunching riffs and yet more aggressive vocals. This one has a lot of groove to it and is quite proggy twisting and turning as Worship The Wolf is slower taking a grinding approach the rhythms section slamming the noise into you as it beats you down. Wall Of Hate is the final number and it brings back the old school vibe providing a galloping end to the EP. My advice is play all of these together, as this third one is probably the weakest but as an entire piece it's a very strong, heavy death metal release. 7/10

Agnostic Front: Get Loud! (Nuclear Blast) [Manus Hopkins]

Band’s in Agnostic Front’s position are at a good place, career-wise. The New York hardcore group has been at it for nearly four decades, but has maintained a steady output of albums through its career, meaning there is no anxiety surrounding the idea of them having lost their touch during extended time off or anything like that, like there is with many of their peers. Agnostic Front is as loud, aggressive, and purely punk as ever on Get Loud!, with track after tracking packing mean swings and hard punches. Before the first track is even over, any listener should know what the rest of the album will consist of. It’s all raw, simplistic punk, and that’s all it needs to be. Agnostic Front has been doing this for ages—they know there’s nothing they need to change.7/10

Sorgelig: We, The Oblivious (Independent) [Manus Hopkins]

Black metal can be excellent when it’s done right, but it can also be disastrous when it’s done wrong. It seems Greek group Sorgelig has managed to concoct a formula for consistently well-done black metal. It’s easy to see their influences; everything from their riffs to their cover art is dripping with Darkthrone worship. This isn’t a bad thing, because they still manage to take the music in their own direction and update the sound and atmosphere a little bit, while staying true to the raw black metal feel. The album starts off with punchier, to-the-point songs and ends with two nearly nine-minute epic tracks, one of which being the album’s real standout tune, A Thousand Skies To Drown In. That’s not to discredit any other song on the record—it’s a solid album throughout, and though it can be enjoyed again and again, will still leave any black metal fan eagerly waiting for new music from Sorgelig. 8/10

Reviews: Scarleth, Noctem, R For Renegade, Coilguns (Stief, Rich, Matt & Liam)

Scarleth: Vortex (Casket Music) [Stief Illingworth]

As soon as the album starts, it’s obvious what Scarleth are all about; Speed, heaviness and melodies,and they rarely stop through the entirety of the album. Feel The Heat opens with synths by Yana Kovalskaya, before Victor Morozov starts to riff, joined by Igor Chumak and Philipp Kharoukadding even more heaviness on bass and drums respectively, and then Ekaterina Kapshuk’s voice kicks in. Her voice fits perfectly with the dark, gloomy atmosphere the band seem to emanate. There’s a gothicness to the band’s sound, giving vibes of early Lacuna Coil in places, while still retaining their own style, even adding some middle-eastern influences with the guitars. Although many could easily compare Scarleth to their peers in the Melodic female-fronted section of our vast metal world, it’s obvious that Scarleth are paving their own path. Definitely keeping an eye on these guys! 8/10

Noctem: The Black Consecration (Art Gates Records) [Rich Oliver]

Noctem are a name I’ve heard somewhere along the line but not a band I have previously heard anything by and so The Black Consecration which is the fifth album by the Spanish black metallers is my first exposure to the band. The Black Consecration is an apt name for the album as it definitely ordained me into the church of Noctem. On this album Noctem play a very visceral style of black metal which feels equally vast, epic and melodic as it does raw and violent. As with most melodically leaning black metal bands the melodies here are not pretty and seep a malevolent atmosphere.

There are some acoustic passages which give off the same ominous vibe as the heavy distorted parts. The classic black metal traits - tremolo riffs and blastbeats - are used to full effect with the drumming by Voor being especially manic with some insane speeds reached with his blastbeats. The vocals by Beleth are a mixture of black metal screams and guttural growls with both used to good effect. The Black Consecration is an excellent album by Noctem and a very impressive introduction to the band for me. It’s black metal which whilst melodic in nature has a wholly oppressive and sinister atmosphere about it. A great listen. 8/10

R For Renegade: Who We Are (Self Released) [Matt Bladen]

We...ok I, review a lot of Greek bands on this blog. This is mainly due to my other half being from the country originally so, we do get inundated with bands wanting reviews, as well as that I do also like to actively seek out Greek bands, who if they are playing the country in future I could go and see. It’s not often that I have seen any of the bands from the country I review, but there are few exceptions most notably Scars Of Tears and Κούπες both from my partners home city of Kastoria in Northern Greece. I’ve now got another name to add to that very small list in R For Renegade a band I saw supporting Scars Of Tears and Κούπες in Kastoria.

Now ok it’s not a great name and in the live reviews I was a little harsh on the band noting that the vocalist didn’t have the best voice so with a little trepidation I pressed play on their album. I was pleasantly surprised with what came out of my speakers as R For Renegade’s album is really enjoyable, emotional alternative rock album. Soaring guitars clean guitar lines are boosted by a crunch while some modern production techniques mean that the record has definitive contemporary edge. Nowhere To Run has a touch of Karnivool as brand New Start brings a more emotional edge as the title track pairs ambient acoustics with rippling electronics and Back To You is a proper ballad sitting in the middle of the album. Who We Are is very good record from these Greek rockers and while they have yet to wow me live, this album made me want to reconsider. 7/10

Coilguns: Watchwinders (Hummus Records) [Liam True]

I’m not into the Hardcore scene that much but there are a few bands I'm fond of. I can safely that that Coilguns are not in that select list. The album is an odd one as it’s experimented with Hard Rock and Hardcore. But the sound of the album and the horrific vocals just destroy the atmosphere for me. If that’s the sound they were going for then that’s completely their choice, but for me I'd rather a more polished and coherent sounding album. To me it’s just a sludgy mess of incomprehensible bashing of instruments. Let down by this as I was looking forward too it. Shame really. 1/10

Reviews: Grand Slam, Fleshgod Apocalypse, Taraban, Quiet Riot (Reviews By Paul Hutchings)

Grand Slam: Hit The Ground (Marshall Records)

Initially formed as a touring project by Phil Lynott when Thin Lizzy disbanded in 1984, Grand Slam were never able to create a permanent record of their music before Lynott’s death in 1986. Guitarist Laurence Archer (formerly of Stampede) had stepped in to replace John Sykes when Whitesnake came calling and he had been pivotal in reforming the band. Vocalist Mike Dyer delivers a strong performance, resembling Lynott in his style without attempting to clone the Lizzy frontman. Songs that Lizzy fans will be familiar with here include Dedication and Military Man, the harrowing song that saw Lynott in the grip of his demons during performances with Gary Moore shortly before his death. A combination of new material and older tracks should please Lizzy fans and Archer, who also had a stint with UFO gives a solid effort alongside Praying Mantis drummer Benjy Reid and ex-Quireboys bassist Dave Boyce. Whether there is a need for Grand Slam is a question for another day. Alongside the Black Star Riders, Grand Slam fill the void that was so beautifully filled for those 12 years from 1971. 7/10

Fleshgod Apocalypse: An Evening In Perugia (Nuclear Blast)

Recorded in their home city of Perugia in 2018, this recording was released as a bonus disc with this year’s phenomenal Veleno which was released back in May. 13 tracks which highlight the sheer intensity and power of the symphonic death metal group. Tracks include Healing Through War, Minotaur and a blistering Gravity which allows the classical style and the bruising death metal of the band to merge in perfect harmony. Veronica Bordacchini’s soaring soprano complements the gruff style of Francesco Paoli and Paolo Rossi. The audience participation is impressive, such as The Violation where the home crowd join in the with intro. No doubt heavily overdubbed and polished, this release still offers a fascinating insight into one of metal’s most intriguing bands. 7/10

Taraban: How The East Was Lost (Self Released)

Named after an Eastern war drum, How The East Was Lost is the debut album from Polish three-piece Taraban. The band have released two EPs prior to this long player following their formation in 2013. The album is about the eastern state of mind, the epic struggle it brings and the romantic side of being born to lose. Opening with the ten-minute plus Last Laugh, Taraban embark on a psychedelic journey which transports the listener far away. The track climaxes in a raging crescendo of Macieji Trojanowski’s fiery guitar work. Along with Trojanowsi, haunted vocals from Daniel Suder who also plays bass and Kris Gonda’s elegant drumming are supported by guests Kuba Jaorski (keyboards), Wiktoria Tabak (backing vocals) and the saxophone of Alex Clov. Their sound ranges from trippy psychedelia to more ferocious stoner rock, such as the rage of Backseat Driver whilst the space trip of White Lies takes influence from Hawkwind, Ozrics and the rest. It’s a competent debut in a field where competition and quantity can sometimes overwhelm quality. Taraban have produced a decent release for their first album. 7/10

Quiet Riot: Hollywood Cowboys (Frontier Records)

Forever to be tainted with the motormouth Dubrow era of Metal Health, the awful Slade cover and of course the legacy of Randy Rhoads, Quiet Riot are much more than that, and the band have stoically pushed forward over the past four decades. Their history is blighted by numerous legal fights over the name and publishing rights but Hollywood Cowboys, album number 14 is a reasonable piece of work. Featuring James Durbin before he left the band to be replaced by Jizzy Pearl, it is also the first release since drummer Franki Banali’s diagnosis of pancreatic cancer. Banali, now 68, gives a solid performance, anchoring 12 songs which vary greatly. Durbin’s vocal delivery is one of the highlights of the album, alongside Banali’s steady beat and the slick guitar work of Alex Grossi. Songs range from the glam rock of opener Don’t Call It Love, the sleaze rock of The Devil You Know and the explosive guitar work on Insanity, which drives forward at a colossal pace. It’s polished and well-delivered and about as much to my taste as John Smiths Smooth. Yet there are some highlights and Quiet Riot demonstrate that there is life in one of rocks oldest dogs, now at least. 6/10

Reviews: State Of Deceit, Novembers Doom, Moonskin, Bad Wolves (Paul H & Manus)

State Of Deceit: Retribution EP (Self Released) [Paul Hutchings]

Although still in their infancy, Retribution is an EP of such massive stature that you could easily be forgiven for thinking that State Of Deceit were entering their second decade as a band. The opening, muscular riffs of Tattered Life leave no shred of doubt that the band mean business. Thunderous double bass drumming from Matt Toner, guttural roars from Pete Scammell and some crunching guitar work tick all the boxes. You want groove? You’ve got it in spades here. Clean vocals mixing with the rough growls? They are here too. Everything from Machine Head to Pantera to Architects mixes cohesively in this incendiary package. Vengeance accelerates with more cranial crunching. Riffs are raining down as the band power through. It’s catchy, it’s thrashy, it’s infectious. I’m not over keen on the sudden application of the brakes as the band slow things slightly, but it does provide Jon Russell to spill a sweet solo before the band ramp up the pace again as the track gallops to its conclusion. Two down and four still to come. This is already impressive stuff.

When Worlds Fail utilises Matt Wilson’s powerful bass lines, the deep rolling linking with powerful drumming to propel the track forward. Visceral and malevolent, State Of Deceit add social observation into the melting pot to great effect. Track four is a beast. No Solace offers a blend of Sabbath and Pantera, Scammell’s clean vocals providing an interesting contrast with his beastly howling. The simple crunching guitar work bringing all the heavy. The Black changes pace and tone, the vocals centring on clean melodies to good effect. A lighter punkish tone to this one, but it retains the meatiness that is a signature sound. Onto the final track and Vipers is set to pulverise from the off. It’s rough, tough and brutal. This is pit inducing mania, roaring vocals, a ferocious combination of blistering drums, burly riffage and maximum power, melody retained and hooks once more sinking deep.

State Of Deceit have played Fuel several times this year. They were unlucky when I saw them at M2TM with Matt Toner absent. Further reviews of the band on the blog have been favourable and if they can capture the blistering form of Retribution, I would expect them to be powering towards the final next summer. For now, ensure that you grab a copy of one of the most exciting EPs to hit South Wales in recent times. You won’t regret it. 9/10

Novembers Doom: Nephilim Grove (Prophecy Productions) [Manus Hopkins]

Novembers Doom are long enough into their career and have a steady enough input that there’s no cause for worry when it comes to a new album. The doom veterans clearly know what they’re doing at this point, and hopefully fans know what they’re in for at this point too. The chilling riffs and the duality of calm and aggressive vocals blend together incredibly throughout the record, while the intricate drumming goes beyond keeping a beat and adds another layer to the sound. The songs would translate well to a live setting, but the record is more than just a batch of songs one or two or two of will be played a live. A thorough listen and any number of re-listens to the entire record are worth it, and recommended. 8/10

Moonskin: Farewell (Self Released) [Paul Hutchings]

Six years since Moonskin formed, and we finally get their doom-soaked debut Farewell. Featuring the moody vocals of the enigmatic Delora, this riff-heavy album focuses on dark poetry and fantasy from the 18th and 19th centuries. Lengthy, slow crushing tracks are interspersed with short musical segments which segue each track. Dramatic and emotional, Delora bears a striking similarity at times to Harriet Hyde, singer of Black Moth. Dead Cursed Lands is switches styles and tempo several times during its near ten-minute journey. Huge riffs dominate the explosive Suffer which careers along like an angry bull before the haunting intro into Queen Of Misery switches the mood with sinister almost evil intent. Crunching guitar, variety of vocal styles and a gothic overtone which improves with every listen. Moonskin may be new on the scene but I’ll be keeping a keen ear for their future developments. 7/10

Bad Wolves: N.A.T.I.O.N. (Eleven Seven) [Manus Hopkins]

Bad Wolves is known as a band whose best song is a cover—and unfortunately, sophomore album N.A.T.I.O.N. fails to do anything to change that. Their radio-metal sound is at best derivative of Five Finger Death Punch and at worst a poorly-executed Slipknot imitation. The pop choruses that are meant to be catchy are instantly annoying, and the guitar suffers greatly due to unnecessary low down-tuning and an overly beefy tone. There’s really just not a whole lot to enjoy on this record. Listening to just a few songs gives a feel for the rest of the album, and there are no hidden gems here. What might be good news, is that Bad Wolves isn’t worse than any of the other bands making this exact music. There’s actually a scene they fit right into it despite the quality of their songs. Great work on the production, though. 3/10

Reviews: Cattle Decapitation, Dark Fortress, Project Ruins, Necrotted (Dr Claire/Charlie, Paul H, Zach & Rich)

Cattle Decapitation: Death Atlas (Metal Blade Records) [Dr Claire Hanley & Charlie Rogers]

It’s been 4 whole years since The Anthropocene Extinction. No wonder the 3 months since Cattle Decapitation first teased us with their new material has felt like a lifetime. We knew we were in for something a bit special but had no idea the extent to which the band were going to level-up on this record. Known for their lightning fast riffs and precision blast-beats, this album more than delivers on that front, but the band have clearly evolved and we’re treated to a more coherent sound this time around. The production quality is second to none. Dave Otero is a master of the mixing desk and showcases his ability to capture the full spectrum of the bands vision for this record. From eerie melancholic laments through to brutal skull-bashing riffs, this album is an absolute rollercoaster – taking you through a myriad of dynamic tempo changes and atmosphere-building interludes.

You get a sense of foreboding with the opening track as newscasts from across the globe deliver warning of our impending doom. Slightly too laboured but it more than sets the tone. Then, out of nowhere, you’re dropped into oblivion. The Geocide is a total gut-punch, a visceral display of brutality. Travis Ryan’s vocals are on-point and as grotesque as ever, and David McGraw delivers his usual earth-shattering double kicks, particularly during the intro. This is a relentless freight-train of a track. Be Still Our Bleeding Hearts highlights Olivier Pinard’s prowess as one of death metal’s top bassists; a welcome new addition to the line-up since the previous record. From first listen, Vulturous was a standout track, featuring a number of catchy riffs and killer hooks from dream team Josh Elmore and Belisario Dimuzio. There’s a much fuller guitar sound throughout the whole album, which will no doubt be due to Belisario being made a permanent member of the band; after touring with them for a number of years. The track closes with an air of decompression; it literally feels like you’re melting. Gradually disintegrating into nothingness.

After a brief interlude with The Great Dying, we’re into more familiar territory with One Day Closer To The End Of The World and Bring Back The Plague. The former takes the meaning of groove to a whole new level, while the latter is reminiscent of material from The Harvest Floor (specifically the track A Body Farm) with an almost Flamenco style breakdown. You could tango to this shit. One of the slower tracks on the album, Absolute Destitute isn’t your average Cattle Decapitation track. It’s definitely intense but not because of break-neck speed. Following The Great Dying II, Finish Them is another lesson in groove. Its driving pace demands your attention. There is a real sense of purpose, echoing the theme of the album, and you can’t help but take notice.

By the time, With All Disrespect graces our ears, despite a solid performance on all fronts it feels a bit samey, but Time’s Cruel Curtain turns things around, with its sense of devastation. It’s all about the atmosphere and the aura of beautiful destruction, which leaves you repenting for your sins. This is matched by the following track, which further emphasises this haunting melancholic beauty. The Unerasable Past even features a clean vocal performance, which works perfectly in this context - highlighting Travis’ versatility and showcasing his ever impressive talent. Flowing seamlessly into Death Atlas, this 9 minute long track is your last helping of pounding drums and aggressive riffage, which ties the album together with the effect of leaving you amongst the smouldering ruins. A premonition of our ultimate demise - a funeral for all mankind.

On reflection, the overall standard of the material is very high. There is a real sense of purpose and the message is clear. There are certainly highlights but consistency can sometimes be a poisoned chalice, with some of the tracks blending into the background. Nevertheless, Death Atlas is a fine addition to the Cattle Decapitation discography - certainly worthy of a place in the top-5 albums of 2019 so far. 8/10.

Dark Fortress: Stab Wounds - Reissued (Century Media) [Paul Hutchings]

Ahead of their new release Spectres From The Old World, which is in its final stages of production, what better time than to revisit the epic third album from German Black metallers Dark Fortress. Originally released in 2004, this is 69 minutes of brutal darkness and contains some of the band’s seminal tracks. Vocals from Azathoth sound as good today as they did fifteen years ago, his haunting delivery throughout chilling and potentially underrated. Three members of the line-up on Stab Wounds remain with the band to this day; guitarists Santura and Asvargr and drummer Seraph and their performance also stands the test of time with ease. Pivotal to the whole album is When 1000 Crypts Awake, the classic track from a phenomenal release. Flanked by the bludgeoning title track, the frenetic Despise The Living and the spellbinding closing track Endtime, this reissue is a welcome reminder that the return of Dark Fortress in 2020 should be a highlight of the metal calendar. 8/10

Project Ruins: Closing The Season (Self Released) [Zach Williams]

Let's face it, we all do weird stuff on the Internet. Whether it's freely releasing your sensitive personal data or having some 'alone' time, it's undeniable that we spend a hell of a lot of our lives online. It was only a matter of time that the power of the internet was harnessed in service of metal. Enter Project Ruins and their long awaited second album Closing The Season – an album written, recorded and produced by musicians from all four corners of the globe. Project Ruins is the brainchild of musician David Beaumont who scours the internet for co-collaborators to help him bring his vision to life, and for the most part they do it justice.

The guitar work is great. It’s blisteringly fast and technically impressive while remaining catchy enough to get stuck in your head. They’re backed by a rhythm section so tight it bewilders me that they haven’t spent the last ten years practicing together, let alone never even met in person. For the most part the vocals are a Randy Blythe-esque barrage of growling fury which lend themselves nicely to the heaviness on display. There are clean vocals that crop up throughout the record that I felt could have been stronger, but for the most part this is a genuinely impressive display of what can be achieved by total strangers on the internet. Unlike 4chan. 7/10

Necrotted: Die For Something Worthwhile EP (Rising Nemesis Records) [Rich Oliver]

Let’s get this out of the way first. I hate slam. It’s dull, repetitive, uninspired and just a bit stupid even for death metal. Necrotted are a German slam death metal band with Die For Something Worthwhile being the new EP from the band following a previous EP and three albums. Now with this being a slam release I fully expected to hate every second of it but whilst I didn’t particularly enjoy the EP it is not the worst slam I have been subjected to. Necrotted definitely have far more musical skill than the average slam band employing influences from technical death metal into their sound as well as the standard simplistic chuggy riffings and stupefying breakdowns the slam genre is known for. The breakdowns themselves are actually fairly restrained and used to a minimum with the intent of this EP to bludgeon with riffings and blastbeats instead.

There were even tinges of melody throughout as well to my complete surprise. There are two vocalists in the band with one doing death metal growls and the other a more hardcore style. Neither particularly stand out but neither are they unlistenable. Necrotted have released a surprisingly ok EP here. The tech death influences surprised me and I hope this is an area they build upon rather than the stagnant idiosyncrasies that slam death metal usually has to offer. There isn’t enough here for me to revisit the band but in future I won’t completely write off a band when I see the word slam. 5/10

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

Hawkwind and The Black Heart Orchestra, Tramshed, Cardiff

It’s a sad reflection on society, or maybe that should be on the scumbags in our society that Hawkwind’s pre-gig backdrop projections is aimed at drawing wider awareness to the plight of lost and stolen dogs across the country. Heart-breaking pictures of several hounds, some long gone from the family home are displayed along with their names, and contact numbers. Futile maybe, but if it made one person a little more aware then I’m all for it.

Just as disappointing, were Mancunian duo The Black Heart Orchestra (4). Having endured the complex looping and samples of this strange ethereal outfit last year, I was gutted to find I was in way before they took the stage. The volume of chatter during a support band tells you everything and at times it was difficult to hear Chrissy Mostyn and Richard Pilkington's tunes. Not a lot to get excited about. Twee and a little dull.

There’s something about Hawkwind that draws an eclectic audience. Celebrating their 50th anniversary on this latest tour, a bursting Tramshed saw a cross section of crusty rockers, younger curious metal heads and a fair spread of ‘normal’ generally ‘older’ folk. So many acrylic jumpers poured into the venue that after about 45 minutes of soaring heat, the powers that be deigned to fire up the air conditioning for fear that the spontaneous outbreaks of ferocious ‘dad dancing’ that erupted in pockets around the venue might cause a) material combustion and b) cardiac arrests.

My first review of the band for this esteemed publication was over six years ago when the band played The Coal Exchange. Since then I’ve seen Hawkwind (9) at the Tramshed and twice on their sojourn across the UK with the Mike Batt Orchestra last year. Not my first viewing of the band who were spawned in Ladbrook Grove half a century ago though, that dates to the mid-1980s. 50 years and the band show no signs of slowing. Date ten of a 15 strong tour across Britain which culminates in a show at the Royal Albert Hall on 26th November, the band were in fine form and delivered a two-hour set that combined five tracks from their excellent All Aboard The Skylark with a perfect scattering of old school songs.

A collection of banners, representing some of their most well-loved album covers flank both sides of the stage, a large backdrop projects visual stimulation throughout, and the usual mind-blowing laser set ensures that those who still dabble can enhance their rocket ride. For those of us who now rely on a simple beer to get us to special place this is no less effective. The band casually amble on in semi-darkness, Levitation’s ageless Motorway City complete with racing highways on the screen opens the evening. After last year’s absence, a welcome return for Tim Blake, whose battle to ‘tame’ the Theremin across the evening became an addictive bizarre focal point. The alien themed Flesh Fondue follows, one of the best tracks the band have written in years in my opinion but lost on at least 60% of the audience. Magnus Martin takes centre vocals for Last Man On Earth, another of my favourites from All Aboard The Skylark; annoyingly much of the Hawkwind crowd are still parked in 1978 with the handbrake on and sporadic chatter starts. It soon fades as the Robert Calvert cover The Song Of The Gremlin (from Calvert’s 1974 album Captain Lockheed And The Starfighters) segues into an extended Born to Go, the first opportunity for those with the urge to cut those dangerous shapes; Captain Dave Brock and crew hit the space accelerator and the bloke in front starts to twitch. Ominous signs.

It’s Spirit Of The Age that really ignites the crowd and forces the introduction of the sweet cooling air. Sing-a-longs galore; this is a fan favourite and it races along, the Calvert penned lyrics and the underlying rhythmic electronic pulse as heady now as they were on 1977’s Quark, Strangeness and Charm. The bloke in front has stopped taking photos of the light show, wrapped his coat around his waist and rolled up his sleeves. He means business and warms up with a few lightweight moves. It’s coming. Meanwhile on stage the banter between Brock (shall I mention here he’s now 78!), drummer Richard Chadwick, Martin, Blake and Niall Hone remains light and humorous. The band is totally at ease.

A couple newer songs entertain me but the energy dips slightly in the venue. Many are a bit confused when Motorhead’s Phil Campbell arrives on stage. His Bastard Sons only blew the roof off the venue 11 days earlier after all. Not that many in the room were there that night. Still, we get an excellent homage to Lemmy with a blinding version of The Watcher followed by a frenzied Silver Machine, sung with style by Richard Chadwick. The venue roars. An image of Lemmy on the screen after The Watcher is poignant and a demonstration that after all these years, there was no malice towards the much-missed legend. A moment to savour. Assault And Battery segues into The Golden Void and Right To Decide (from Electric Tepee no less) and the band troop off. Cue the venue’s most distinctive security guard perched high on the crash barrier at the front, conducting the “Hawkwind” football chant with his torch. The bloke in front leads the way. It’s all a bit surreal. And fitting.

The obligatory return to the stage, band introductions from Captain Brock probably unnecessary but completed. A rip-snorting Hurry on Sundown hurls the bloke in front into a frenzy, his Bucks Fizz moves now complemented by a Rhondda two-step; this is 11pm wedding reception quality sharpness; he makes Danny Bowes look utterly ponderous with his MC Hammer finisher. Master Of The Universe is immense. It finishes the bloke in front; he’s spent in a sweaty heap, regretting that tomorrow morning he will be back at his dentist’s surgery, thinking about last night and then switching thoughts to his next trip on his yacht. “Somewhere sunny? But where” he muses. We may not have had as good a time as him, but for the rest of us that was Hawkwind at their most sublime.

Setlist: Motorway City, Flesh Fondue, Last Man On Earth, The Song Of The Gremlin (Robert Calvert cover), Born to Go, 65 Million Years Ago, In The Beginning, Spirit Of The Age, The Fantasy Of Faldum, The Watcher (feat. Phil Campbell), Silver Machine (feat. Phil Campbell), Assault & Battery, The Golden Void, Right To Divide

Encore: Hurry on Sundown, Master of the Universe, Welcome to the Future

A View from The Back Of The Room: Veil Of Maya (Live Review By Tom Bladen)

Veil Of Maya, Y Plas, Cardiff

The last time I'd seen Veil Of Maya (8) a technical issue meant that the last few songs (which are usually the most recognised) were played with just the rhythm section and vocals as the guitars cut out completely. As they are one of my favourite bands myself and my mate made our way to the Cardiff university's smaller venue where they were supporting metalcore band Attila. We had missed the support act due to outside issues but we arrived just before the band we wanted to see. Now the more hardcore influence style of Attila isn't something I particularly enjoy so I was there purely for Veil and they made the trip worth it by playing a very tight set of their top level brand of technical metalcore opening the night with 20/200 and Whistelblower they got the crowd moshing like hell from the first thicc riffs of Marc Okubo, his playing was fluid throughout though sometimes it became distorted due to the mix, as did the vocals of Lukas Magyar who flawlessly moves between growls and clean singing easily though when he was at the top of his clean range the feedback was a little annoying.

The sound throughout was muddy meaning that some of the more intricate passages were lost, as Sam Applebaum's drums and Danny Hauser's bass dominated the mix. Still not many seemed to care as they brought out big hitters like Doublespeak, latest single Members Only and Mikasa getting the smallish crowd moving on a night where Ghost had the majority of the audience over at the Motorpoint Arena. VOM are a band that are technically solid, infusing their metalcore some tech-death mastery and massive grooves. They were playing to a partisan audience (the room became a lot more sparse as changeover took place) so it was very clear that Veil Of Maya washed away any bad taste from their last gig with this storming support set.