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

Mark Morton, Dave McPherson & Ben Jordan, Thekla, Bristol

Easing into the New Year with an acoustic evening didn’t appear such a good idea on initial assessment. A foul winter’s evening, rain lashing down and splashing through the puddles as I scurried across Bristol, stepping past and over the numerous homeless bodies that cluster in the doorways and car parks of Bristol, the world seemed dark and twisted.

Entering the Thekla and the dry hull of the aging boat, I joined a couple dozen hardy souls huddled in the bowels of the cold ship as opening act on this UK tour, Ben Jordan (7) provided calm and respite with some lovely if unremarkable acoustic guitar. A native of Virginia and long-term friend of Mark Morton, Jordan’s s humble, honest approach endeared him to the slowly expanding crowd. With short songs, he didn’t spend much time chatting, although glimpses of his style of humour were evident; “canned water: It’s weird” he commented. “My taste buds and liver don’t know what’s going on but hey, it was free!” I didn’t catch many of the song titles although Hard Times, from Jordan’s Mark Morton produced forthcoming release stood out along with a stirring cover of Temple Of The Dog’s Hunger Strike with Joe Harvatt adding additional guitar, although having the guitar plugged in might have ensured an even more rousing finale. Jordan’s brand of laid-back Americana crosses genres and there is more than a touch of country to his sound. One can’t help feeling that he was more at ease with another musician alongside him, and reference to an absent steel in one of his songs suggested that there could have been much more. His history suggests he is routinely playing in various venues in Bristol and the UK. Maybe delving into him with more oomph would be worth an evening out sometime.

I’ve never really taken the time to listen to InMe. The UK alt-rockers have been going for 24 years according to frontman and founder Dave McPherson (6), although “I’m the only original member left” he tells us with an uncomfortable giggle. So began half an hour of crazy antics, broken strings, anti-Brexit statements and some very funny Randy Blythe impersonations (“who gives a fuuuccckkk”). McPherson is an acquired taste and appeared to have taken some pre-set sharpeners to relax. His vocals ranged enormously, some of his screeching and higher pitches not having the desired effect and although the boat had by now filled nicely, a fair number moved to the back or out of sight as his short set progressed. A talented performer, his style was completely at odds with the almost subdued delivery of Jordan, whose calm and measured mannerisms contrasted with McPherson’s chaotic, hyperactive and at times ropy delivery. He concluded a set that included a celebration of life and a song about Citalopram with Unchained Melody, introduced as “a song by Robson and Jerome, you know, from Game Of Thrones and Gone Fishing”. Reasonable fun and probably a way of loosening the rust before InMe tour their new album Jump Start Hope in a couple of weeks (They play the Bunkhouse in Swansea on 21st January).

It’s unusual to see someone of this calibre vulnerably perched on a stool in front of a good sized crowd but this is where Lamb of god guitar legend Mark Morton (9) found himself, accompanied by vocalist Mark Morales (Sons Of Texas) and Hark guitarist Joe Harvatt (whose presence as a Welshman elicited a massive roar of approval later in the evening). Morton released his debut solo album Anaesthetic in 2019, with a host of top names adding their talent. This short acoustic tour was to promote new EP Ether although unsurprisingly the bulk of the 13-song set was drawn from Anaesthetic. Softly spoken, his US drawl gentle and instantly likeable, this was Morton at his most vulnerable. Constantly checking the tuning on his acoustic guitars, he admitted to being massively nervous, something he said rarely happens when LOG is tearing up massive festival sites. Technically this set was probably more challenging. No hiding place, a reliance on timing and the reliable Harvatt as his co-pilot, Morton’s demonstrated flexibility and dexterity, whilst Morales tackled a range of songs, the majority not even written by or for him, with a desire and passion and no little skill, especially as there was evidence of a cold lurking. He met the challenge

Six tracks from Anaesthetic included the opening duo of Axis And Blur, the latter the track that Morales contributed vocals to on the album. Interspersing new tunes from Ether between tracks from the solo album, this included a brave choice of cover of The Black Crowes’ She Talks To Angels (sung by Lzzy Hale on the EP). The set later included a further three quality covers, Pearl Jam’s Black, a stunning Down In A Hole (Alice In Chains), both previously converted to Unplugged sets for their former masters. An emotional Cross Off, which featured the late Chester Bennington on vocals, raised the hairs on the back of the neck. Morton’s conversation was simple and gracious, stories of their trip(s) to Ikea to buy the rug and stools for the shows and how he borrowed battery operated candles for the stage set from his mom, “she emails with Randy” he revealed as laughter echoed around the boat. Closing with a creative “jam” of Sabbath’s Planet Caravan, this was the end of a special evening up close and personal with one of the metal world’s most ferocious guitarists. Stepping out of the boat, the rain had stopped and just for a while, all was right with the world again.

Reviews: Wolfmother, Elder Druid, Helldown, Darktribe (Matt & Paul H)

Wolfmother: Rock N Roll Baby (Self Released) [Matt Bladen]

The second surprise release by Aussie rockers Wolfmother (which now is basically Andrew Stockdale and hired guns) comes after Slipstream in 2018 and once again he's gone down the self released route with Rock N Roll Baby which is the first album he has recorded why sober having given up drinking in 2018. He has clearly put his free time into recording in his home studio as Rock N Roll Baby features 7 tracks of Wolfmother music. Think fuzzy retro riffs, Stockdale's almost shrieking vocals and a psychedelic influence looming large, on Rock N Roll Survivor he's brought grunt, first single Spanish Rose is a proper rocker with some thick organs and even strings behind it as the psych is ramped up on Freedom Is Mine. Unfortunately only these tracks and the funky Special Lady really resonate, it seem to be a bit more about quantity over quality as lyrically you can never judge Wolfmother due to their worship of the groove over whether it makes sense, however here the music is a little lacklustre too. I like Wolfmother but this is basically a Stockdale solo effort and not a particularly good one at that. 6/10      

Elder Druid: Golgotha (Self Released) [Matt Bladen]

When you see a band have had previous releases on Black Bow Records, the record label founded by Conan's Jon Davis, you can anticipate how heavy Elder Druid are. Well personally I've seen how heavy they can be in a live setting, this Belfast five piece bring to mind Electric Wizard and Conan themselves. Golgotha is their second full length album, 7 tracks of fuzzy doom, recorded by the band's multi-talented bassist Dale Hughes (who also adds theremin and Fender Rhodes) he's made sure the album has D.I.Y sound that makes it similar to the founding fathers of doom. The title track is muddy with the down-tuned riffs bubbling out of the speakers as Hughes along with guitarists Jake Wallace and Mikey Scott essentially bring aural abuse with every deliberate stab of their strings.

The atmosphere builds on Sentinel a song that is led by the expressive drumming of Brien Gillan, an instrumental it means that Gregg McDowell gets a rest from delivering throat ripping vocals that is until Vincere Vel Mori a track that owes as much to Pantera as it does to Sabbath, now I've already compared the band to Down and that comparison sticks here with Vincere Vel Mori bringing the sludge. Veering between woozy psychedelic distortion and grumbling doom metal which is at it's most fierce on Dreadnought. Golgotha is a crushing record from the Norn Iron riff merchants, yes production wise it's a little murky but that will add to the charm for some. Play it through big speakers...you'll thank me. 7/10

Helldown: In Death's Hands (Self Released) [Paul Hutchings]

Back in June I saw Swansea based quintet Helldown give a creditable performance in the Bristol M2TM semi-final. Whilst I enjoyed their set and felt that they were unlucky not to progress, I also commented on their limited originality, and the need for something to separate them from the masses. Well, the band’s sophomore EP has arrived and it’s not at all bad. Sticking closely to the old school thrash blueprint, this four-track slab is perfectly enjoyable, with the production solid, adding enough crunch to the heavy riffage of Lewis Larkman and Matthew Evans, something that has been lacking for a couple of other Welsh bands in recent times. Whilst the EP has plenty going for it, there are also some limitations. I find Ben Evans’ vocals the Achilles heel in the band; his delivery sometimes doesn’t do the band justice and at times it appears that he is struggles to reach all the notes. 

Having said that, his bass playing is sound, linking well with the powerhouse drumming of Ross Thomas whose massive drum kit is utilised to good effect. Opener The Unnamed is a decent starting song, a track that immediately grabs the attention, the band’s influences of Pantera and Slayer prominent. This continues with Mortal Shell, a raging thrash beast which has some fine cohesive playing. Still not fussed on the vocals mind. Heretic follows, and by know you should be enjoying this EP. It’s chunky, thick thrash and there isn’t a lot to criticise. Flames Of Heresy closes things down, and this is possibly the best track on the EP, switching between full bore acceleration and slow and brooding menace. In Deaths Hands is by no means a bad release. There is plenty to get stuck into. Whether there is enough to propel the band to the next level though, is difficult to call. 6/10

Darktribe: Voici L’Homme (Scarlet Records) [Paul Hutchings]

Album number three from the Power Metal outfit from Nice, France. An album inspired by the Christian bible and particularly the New Testament, Voici L’Homme (Here is the Man) has a striking cover created by Giannis Nakos which leaves you in no doubt about the content of the album. Produced by Damien Rainaud (Dragon Force/Fear Factory) it’s a crisp and tidy album and if you take away the lyrical content it’s okay. Now, I don’t have an issue with Christian bands, but they do tend to be a bit wet when it comes to the lyrics. And that’s because there is no God. It’s really challenging to listen to the soaring clean vocals of Anthony Agnello praising an imaginary deity. Musically Darktribe (don’t get them confused with the German black metallers Dark Tribe whatever you do!) combine racing power metal with melodic hard rock. Multi-layered, rich on melody and harmonies, it’s a smooth and polished album, well-crafted and executed with the lead work of Loїc Mannello impressing. Plenty of keyboards and effects adding breadth. However, I cannot get past the relentless God speak which makes any vocal irritating. Three plays didn’t help. There is likely to be interest from the power metal fan base and tracks such as Tree Of Life, Faith and Vision and A March For A Prophecy are musically decent. Unfortunately, it’s not something that gets me excited … ever. 5/10

Reviews: Dawn Of Solace, Kassad, The Driftwood Sign, Acid Mammoth (Rich, Paul S, Paul H & Alex)

Dawn Of Solace: Waves (Noble Demon) [Rich Oliver]

Being a fan of the dark, gloomy and melancholic side of metal I have long been a fan of the work of Tuomas Saukkonen and his associated music projects from Before The Dawn to Black Sun Aeon to his latest venture Wolfheart. There is one project of his which seems to have bypassed most people and it’s the one that I found the most compelling and that was Dawn Of Solace and the solo album released from the project back in 2006 The Darkness. When Tuomas formed Wolfheart and announced that he was discontinuing all his other projects I will slightly disheartened that there would be no second album for Dawn Of Solace so it came as a total and very pleasant surprise at the tail end of 2019 when a new song surfaced online with a new album following in January 2020. It appears that Tuomas cannot confine his ideas to just one outlet.

So with a 14 year gap between albums how does Waves fare? Well the first big difference is the addition of vocalist Mikko Heikkilä whose stunning clean vocals dominate the album. The vocals on The Darkness were a mixture of harsh and clean but apart from the odd harsh moment here and there Mikko’s cleans take the lead on Waves. The other difference is a slight change in tone. The Darkness was well a very dark album being a far gloomier and bleak affair compared to the Before The Dawn and Black Sun Aeon albums but the music on Waves whilst having that very distinctive Finnish melancholy is just that slightly more optimistic sounding. 

Yes the sadness and melancholy are very much driving this album but the bleakness that was at the core of The Darkness is now gone. The songs are all highly melodic and all have the same middling pace to them but that distinctly Finnish melancholy makes these songs all achingly beautiful and highly memorable to these ears. Things start off in fantastic fashion with the sublime title track (which was released at the end of 2019) but other highlights for me included the beautiful Silence and the bleakest song of the album Tuli which is entirely sung in Finnish and has the return of the harsh vocals. Being a fan of this style of music it was hard for me not to thoroughly enjoy. I would have liked to have heard more harsh vocals and considering it has been 14 years the album is a little on the short side but these are just minor criticisms. On the whole Waves is a stunning album and Tuomas again shows he is one of the best songwriters out there when it comes to melancholic FInnish metal. 8/10

Kassad: London Orbital (Hypnotic Dirge Records) [Paul Scoble]

Kassad is a 1 man Black Metal project based in London, which is appropriate. London Orbital is Kassad’s second album coming 3 years after their debut Faces Turning Away, and 4 years after their debut Ep Humans. The feel on London Orbital is slightly less Black Metal than the bands debut, so we are closer to Post Black metal territory with this album. The album has a very modern feel as well, there are lots of electronic and ambient elements on offer here, and they are seamlessly blended with Black Metal elements, and there are a lot of those on here as well. This album features some exquisite tremolo picked riffs, with fairly smooth, trance inducing blast beats. There is an innate melodic musicality about these riffs that is very enjoyable, in some places it’s downright uplifting; the riffs on the aptly titled The Hope are a case in point, maybe a little bit like Deafheaven or Archivist, although I’d be doing Kassad a disservice to not point out that this artist has a very unique feel to them.

The subject matter of this album is based on urban decay and looking into the near future where cities are personified, malevolent beings. There is a darkness to this album that is an interesting juxtaposition to some of the uplifting guitar parts. Some of the ambient and drone sections carry a lot of this darkness, this is demonstrated by the final track The Hollow, which is the only track with no metal parts to it. The Hollow has a very slow build up to droning ambient noises, when a beat does come in it’s more like Trip-hop rather than anything you would associate with metal. There are Post Rock elements as well, some of the riffing on the second half of the track The Hopeless has this feel to it, and once it comes in the track gets bigger and bigger to a great ending. I used to live in Stockwell in South London, and this album does remind me of that period of my life and the juxtapositions of living in a big city. London is a very dark place, particularly when it comes to urban decay, and the squalid, neglected aspects of modern life.

However, London is also a vibrant city that is full of life, and I think that's where the mixture of feelings on this album come from. The album is full of the darkness, but also registers that from that darkness can come vital and life affirming things. This all ends up feeling cathartic and balanced. London Orbital is fantastic album. It’s enjoyable and immersive, a modern take on Black Metal and has sprung from living in a city. London Orbital is dark, dank, depressing whilst at the same time uplifting and life affirming, just like London itself. 8/10

The Driftwood Sign: Broken Times (Self Released) [Alex Swift]

Formed in perhaps the most organic way possible, that being as the result of a ‘very good jamming session’ – The Driftwood Sign have quickly raised through the ranks of melodic hard rock, supporting Tremonti at a Copenhagen show. It’s easy to see why they would take up a place in that scene as well. The combination of traits from various metal genres, with a strong melodious core and a theatrical production feels reminiscent of acts in that vein, if somewhat tedious, by the amount of times the style has been aped. What the Swedish four piece lack in originality though, they make up for in skill and affability. The songs bear the clout and muscle needed to carry them, with the bass and drums playing a particularly prominent role in commanding moments such as Polarize and Faceless. The ever present guitars take you on a journey, gliding from moments of serene harmony with the vocals to crushing distortion, lock and step with the marching rhythms. 

The vocals, although one of the weakest of the aspects on Broken Times, warm up to you after a while, as their reserved, reticent nature gives the instrumentals room to breathe or be noticed, while the soaring melodies themselves feel more lush and free as a result. Another aspect which took my head out the experience slightly – and its one I’m noticing more and more as a music critic – is the production, which despite clean and crisp by debut standards, breaks the bombastic, exhilarated tone that many of these tracks are shooting for. Perhaps the aspect I like most out of all of them is the fact that you can sense that these musicians decided to forma a band after jamming together. While, as I have outlined, it’s difficult to ignore the influences at play here, you can tell that each member is bringing his own unique tastes to the table, making for a listen which – despite lacking in uniqueness - feels warm and exciting. 7/10

Acid Mammoth: Under Acid Hoof (Heavy Psych Sounds) [Paul Hutchings]

Lumbering from out of the Pliocene epoch, there is no doubt that Greek doom outfit Acid Mammoth’s name links aptly with their quite incredibly heavy sound. This five-track release really sounds like a mammoth on acid and opens with Them! A mere four and a half minutes, the wall of noise and riffs almost asphyxiating whilst the down tuned fuzz the duel guitars is astonishing. The Athenians double the length on Tree Of Woe, slowing down the pace to that of a fully laden proboscidean. Chris Babalis has just the right vocal delivery for the sheer intensity that awaits you. Tusks Of Doom and Jack The Riffer (haha!) both bludgeons, the lack of speed more than adequately compensated by the crashing tsunami of sludgy riffing. If there is one complaint, it’s that the tracks tend to merge into one after a while, despite the subterranean bass of Dimostheris Vankos rattling the filings. The title track closes off 35-minutes of heaviness in typical style. If you like your doom slow, thick riffed and suffocating in its power, Acid Mammoth may well be worth checking out. 6/10

Reviews: Brothers Of Metal, Oberst, Arcana 13, East Of Lyra (Rich, Paul s, Alex & Paul H)

Brothers Of Metal: Emblas Saga (AFM Records) [Rich Oliver]

Upon seeing the name Brothers Of Metal I was expecting a fourth rate Manowar clone and there are far too many of those about as it is. Thankfully as I hit play on this album I realised that despite the terribly cliched name Brothers Of Metal are an excellent power metal band. There seems to be quite a buzz about Brothers Of Metal and it is quite understandable as Emblas Saga which is the second album by the Swedish eight piece is a fine mix of European power metal, folk metal and symphonic metal. It doesn’t veer too far in each direction being a well balanced mix of the three genres and the songs are nicely varied from straight forward power metal such as Powersnake, Chain Breaker and Brothers Unite to the more melodic epic folk influenced songs such as Weaver Of Fate and the title track.

The symphonic elements are prevalent in most songs but are very restrained giving the songs an epic feel but without being too bombastic and over the top. The vocals follow the beauty and the beast vocal style employed by many symphonic metal bands with the angelic yet powerful clean vocals of Ylva Eriksson and the gruff yet melodic vocals of Joakim Eriksson. Emblas Saga gets 2020 off to a fine fine start for power metal fans. Lyrically it is all very cliched with the viking and Norse mythology themes having been done to death but power metal fans generally adore these gimmicks and no doubt the plastic sword wielders you see at festivals will adore this. Gimmicks aside the music more than speaks for itself and Emblas Saga is a fine piece of silly and fun power metal. 8/10

Oberst: Paradise (Indie Recordings) [Alex Swift]

Although I am certainly favourable to alternative, and practically grew up on post hardcore, as with every genre it tends to blur together a little on the fringes. While Norwegian act Oberst, have some clout in their instrumentals and songwriting, there is little to distinguish them either lyrically or musically. In fact, upon first listen I optimistically assumed that this was an addition to Conor Oberst’s – Modest Mouse, Better Oblivion Community Centre – extensive list of side projects. I need to stress that I by no means hate Paradise. The interplay between the guitar layers creates and impressive wall of sound, that gnashes and subsides in equal measure. Rhythmically, the experience is incredibly taut and for a self-produced debut, you can hear all the notes, frequencies and words with precision. From the energy which comes howling out of opener, VAGABONDS, to the gigantic nature of the closer PILLAR, there’s a lot for hardcore traditionalists to love here. Indeed, even the themes of ‘assailants sickened by the state of the world’ seem consistent and well intentioned, even if I can trace the lyrical motifs back to Rise Against, Architects and acts in a comparable vein. In many ways, the album is a respectable and impressive introduction to the act.

In spite of all that though, I can’t help noticing all these traits as aspects from established acts. The screamed vocals seem the trademark of La Dispute or even Bring Me the Horizon while the contrast between the sombre melodies and harrowing tempos feels symbiotic of Touché Amore. One way I analyse albums as a writer is to see how many artists jump to mind upon first listen. If I can’t find to many with a sound exactly comparable, I become yet more intrigued. However, while – and I really must stress this – I can see huge potential for Oberst in the future, given their musicianship and production – I struggle to get excited over something that feels so incredibly familiar. My score towards Paradise comes out of appreciation and respect for the genre. Keep an eye on these guys, they might impress us all in future. When that day come’s, I’ll be more than happy to quell my disappointments towards the debut. 6/10

Arcana 13: Black Death (Aural Music) [Paul Scoble]

Arcana 13 are a 4 piece based in Italy. The band play a fairly traditional style of Doom metal, and have put out 1 album; Danza Macabre in 2016. Black Death (which is probably a reference to the disease, rather than the extreme metal sub-genre), is a 2 track Ep / 7 inch, featuring 2 tracks. First track Black Death is a nice piece of dramatic doom metal. The style is very traditional, so think bands like Pentagram, St Vitus or Iron Void, and the second half of the song is similar to Black Sabbath’s Children Of The Grave. It’s a great piece of doom metal; it isn’t particularly original, but that isn’t really the point of Doom. The second track is a cover of Iron Maiden’s Wrathchild. It's a fairly standard cover, it’s well played and is a fairly faithful rendition of this metal classic. Black Death is an enjoyable EP. There's nothing particularly groundbreaking about it, but it’s a very entertaining piece of work. 7/10

East Of Lyra: Self-Titled [Heavy Metal Records) [Paul Hutchings]

If you like Rush and Yes, then you should check this band out. So says the Facebook page of East of Lyra, a progressive five-piece which features Lee Payne, bassist of UK NWOBHM also-rans Cloven Hoof. Well, I love Rush. They are my favourite band of all-time. However, I can’t stand Yes. I’ve never seen the connection apart from the high-pitched tones of Geddy Lee and Jon Anderson. However, there are, I add grudgingly, some connections on this album. I would argue that Yes has been a revolving door of musicians whereas Rush has only ever had four, and the same three since 1974. But regardless of this totally inaccurate comparison, East Of Lyra is most definitely a progressive album. Opening with a ten-minute ‘epic’ in Siren Song, the band lay out their stall in no uncertain terms. The lead guitar work of Ash Baker is excellent throughout the album, whilst Chris Dando’s soaring alto vocals certainly provide echoes of Anderson, Lee and Dream Theater’s James LaBrie. Payne’s chunky bass guitar dominates the opening section of Wings Of Freedom, the strings pulsing like veins in a weightlifter’s neck and it’s here that I see the Rush comparison, as Payne plays in a similar vein to Geddy Lee; not content to simply pluck away at the E string, Payne covers the whole of the instrument to impressive effect.

It’s when we hit track four, Shadowlands, with its space shifting sound effects that echoes of Rush’s Xanadu hit home, quickly followed quickly by a riff so like that on La Villa Strangiato that I hope East Of Lyra asked permission. However, the track itself if a thundering uplifting song, some beautiful melodies and elements of the better aspects of Anderson, Squire and co. Stand Up contains another Rush riff, this time it’s Beneath, Between, Behind that resonates but forgiving that this is a fist pumping track with Payne’s bass lines again leading the charge along with some very 1980s timer changes and synth use. Travelling through this album was enjoyable, the music excellent. Equinox is a superb progressive song, tangential riffing, abstract changes of timing and direction, all the while Dando’s vocals high and crystal clear. Too Late is a little too twee for my liking but the final song High And Mighty ensures the album ends on a triumphant note. East Of Lyra is certainly an album worth a listen. It contains some beautifully crafted pieces, and even if you usually baulk at the progressive rock world, you may be pleasantly surprised. 7/10

A View From The Back Of The Room: Dub War (Live Review By Neil Lewis)

Dub War, Cwmcarn Hotel

You probably already know this dear reader but before there was Skindred there was Dub War (who, according to a description from front Benji Webbe, are “from Newport, old as fuck and amazing”). The band initially split up following disagreements with then record label Earache in 1999, but since reforming for an apparent one-off gig in 2014 have played a few sporadic headlining club shows (all of which I have been at thus far) as well as a last-minute fill in performance at Download 2015. So, when the band announced that they would be playing the 100ish capacity Cwmcarn Hotel (which is familiar territory for Benji as it’s run by a couple of his friends and he MC’d the opening ceremony for the hotel’s restaurant earlier this year) I snapped up a ticket as soon as they went on sale. I’m glad I did as it’s been many many years since it’s been possible to see the band in such an intimate venue and I’m not sure if or even when the chance to do so will arise again.

As the very small room was beginning to fill up those who had already arrived got to see a couple of support acts (sadly I wasn’t able to get their names), one of which was a solo reggae act and the other was a brief spoken word performance. It seems pointless to score these two as what can you say about a spoken word performance? In addition, neither act was advertised ahead of time so those coming along early had no idea who they would be seeing before the headliners.

The familiar sound of the air raid siren being cranked heralded the return to the stage of Dub War (9) for the first time since they played Bristol’s Fleece in 2016. The band had to walk through the crowd to get to the stage, which is something I imagine they haven’t had to do for quite some time, and which also added to the intimate feel of the performance. I should add at this point that any fears of the room being overcrowded proved to be totally unfounded – despite being totally sold out there was enough space to accommodate everyone who was there comfortably. Said air raid siren appropriately bled into the band’s first song Psycho System and despite there being some problem with Benji’s keyboard during the first couple of songs the set was otherwise excellent including all the fan favourites such as Respected, Nar Say A Ting, Dub War, Fools Gold, Strike It, Million Dollar Love plus their first “new” song (actually released in 2016) Fun Done and the open question that was the set closer Over Now. Also, as I’ve noticed at previous Dub War shows Benji was in more of a humble mood than is usual for the quick-witted, dry-humoured frontman, taking time to thank the crowd for attending and supporting the band (in between the good-natured insults of course!).

The fact that the band haven’t played together since that show in the Fleece - other than the rehearsals for this show – didn’t seem to matter as none of them missed a beat and the performance was very tight indeed, apart from the malfunctioning keyboard which did eventually start behaving as it should. As mentioned Dub War’s shows are sporadic so in my opinion they are always somewhat special and this one in particular being in such a small room (which by the way had excellent sound for those who want to know about such things), felt very special indeed. The band, including bona fide rock star Benji, took time after their performance to chat with fans, take pictures and sign stuff so the overall feel was of a performance for the bands’ friends. As an aside there was a man behind me during the show who said he’d travelled all the way from Wigan just to catch the band as, in his own words, “Dub War should have been huge!”. To be honest I can’t help but concur with that sentiment. Hopefully they’ll be back for more gigs to prove the point.

A View From The Back Of The Room: GLC (Live Review By Neil Lewis)

Goldie Lookin Chain, Newport Leisure Centre

Even though this blog is named the Musipedia Of Metal, I think there is still room for other styles of music – and even more so I think there is always room for a bit of comedy. So, when local comedy rappers Goldie Lookin Chain (who are from “a town called Newport, which is in Newport” apparently) rocked up to play the Newport Leisure Centre (which is also in Newport apparently) on Black Saturday dressed in their shiniest tracksuits and bling I thought I’d go along too. The group brought quite a few friends with them as well, as I could count a total of fourteen (!) different members on stage during their set, whereas according to Wikipedia the band only has ten full-time members. Having that many people on stage at once made the show a whole lot of fun to watch, even though it also made it practically impossible to follow who was doing or saying what at any given time.

Another couple of friends they brought were also the warm up act – who consisted of Rhondda rapper Andrew “Biggie” Drew Morris (4) (who the headliners have written a song about) and a chap who’s name I didn’t catch. Their act consisted of them both rapping over other people’s songs and trying to gee up the crowd in a style reminiscent of an overly talkative club DJ. I can honestly say that I did not enjoy their performance but to be fair it certainly wasn’t aimed at me even though I enjoy listening to rap and knew most of the songs they were performing over. I guess I just didn’t get it; oh well.

The lads in GLC (8) hit the stage to what they claimed was going to be a “nine minute intro” during which they helpfully updated the crowd to inform them what stage the intro was at (“make some noise for the middle of the intro”) as well as informing the crowd throughout the show of the current “level” of enjoyment we had attained – you will no doubt be relieved to hear that we just hit the highest level (five) right at the last song, thank goodness for that! After what I’m sure wasn’t actually nine minutes the proper set began. As this show was the final one of the “World Tour Of Wales” the band had embarked on to commemorate the fifteenth anniversary of their major label debut Greatest Hits a decent amount of the set was pulled from that album.

The likes of Half Man, Half Machine, You Knows I Loves You and the top 3 hit single Guns Don’t Kill People, Rappers Do all went down very well with the extremely partisan audience in the room. As did all the local references (Baneswell Express to give just one easy example) and in-jokes that are frequently peppered throughout the bands’ lyrics. “Biggie” from the support act also made a second appearance during GLC’s set as they performed their song named after him (called ABM, in case you couldn’t guess). It is kind of strange to see the band – most of whom will be in their late-30’s or early 40’s by now – still performing some of their more immature numbers such as Ice Ice Dildo, Soapbar or set-closer Your Mother’s Got A Penis, but those songs are GLC mainstays so I guess they’re not going anywhere.

Overall the bands set was very entertaining and thus represented good value for money in my eyes. The only criticism I have is that after all this time some of their jokes are beginning to wear a little bit thin but there’s still some mileage left in their Adidas trackie bottoms yet I reckon.

Top 5 Worst Albums Of The Year By Alex Swift

Worst Albums Of 2019

5. Steel Panther – Heavy Metal Rules

If you’ve never heard of Steel Panther, let me explain the joke to you. You know 80’s hair metal right? Well, they sound like that, but…get this…they’re doing it in the modern day!!! And the audience roll over in laughter. At least, that’s what Steel Panther seem to think. Indeed, they’ve been beating this particular dead horse for five albums now, and are showing no signs of granting us mercy, realising that the scant amount of humour that existed in the gimmick to begin with, has now utterly evaporated, leaving only crap jokes, bad hair, and a glitter soaked trail of boredom.

4. Puddle Of Mudd – Welcome to Galvania

‘Oh no they fucked it up again’. Shame on me, I guess, for presuming we would get anything substantive or mature from Wes Scantlin and co. While I’m happy their frontman is trying to clean his act up, his antics of swearing at the audience and storming off stage, were at least worth talking about. Of the list of comebacks we saw in 2019 – MCR, Rage against the machine – Puddle of Mudd did not need to add their name to the list. The truth is they’ve never produced anything of real worth, and are a mostly forgotten trend from post-grunge. Now, they should assuredly stay there. In their own words, everything’s so blurry, everything’s so fake.

3. Skillet – Victorious

Only the fabled prophet Lemmy may ever truly know how the lord reacted on the day he first heard Victorious. Yet trending wisdom foretells, he wept at his mistake and cursed the day he created Christian metal. From that day forth our master in heaven vowed to never again scorch the earth with a foe as destructive as Skillet. Sat on his throne in paradise he contemplated how anyone should be able to share in the joys of Metal regardless of their religion. He remembered how Lucifer, citing punk as an influence, had led a rebellion against the angels. Smiling his wry, godly smile the lord realised that the Devil might have the greatest music after all

2. Papa Roach – Who Do You Trust?

Those of you who read my end of year lists in 2018, will know that my lack of hope in mainstream rock to produce anything substantive, is thankfully ignorable due to the diverseness of the genre. Papa Roach is, of course, a charting act of the Nu-metal era. Characterised almost entirely by the ‘Cut My Life into Pieces’ meme, their brand of angst has not exactly held up gracefully. Yet give them this, their later years have seen them at least trying to mature and adapt. However, they always lacked the creativity, and Who Do You Trust? Is yet another example of them straddling the line between guarding that acerbic Papa Roach attitude, and desperately trying to stay relevant.

1. AJR – Neotheater

AJR are not clever, subtle or talented. Such is the depth of their hubristic arrogance, they pose to be outside the mainstream, while being distrusted by Disney, and jamming every insufferable trend in existence into their, awful ear grating, brand – yes, not band, brand. They don’t so much as deserve to be shunned from the world of pop rock, as to be shoved in a space capsule, and catapulted towards the nearest supermassive black hole. Having to spend time with this album became actively grating upon each listen. I am done wasting time with these money-grubbing, pandering, lame excuses for musicians.

Top 10's Of 2019

Anthony Hutchings

1. Tool - Fear Inoculum
2. Rammstein - Rammstein
3. Puppy - The Goat
4. Alcest - Spiritual Instinct
5. Slipknot - We Are Not Your Kind
6. Korn - The Nothing
7. Sabaton - The Great War
8. Wheel - Moving Backwards

9. The Hu - The Gereg
10. Opeth - In Cauda Venenum

Arwen Hutchings

1. Nick Cave - Ghosteen
2. Tribeless - Angels
3. Alcest - Spiritual Instinct
4. Alunah- Violet Hour
5. The Admiral Sir Cloudesley Shovell - Very Uncertain Times
6. Dead Shed Jokers - All the Seasons
7. Rival Sons - Feral Roots
8. Wheel - Moving Backwards
9. Monolord - No Comfort
10. Superseed - S/T

Steve Jenkins

1. Killswitch Engage - Atonement

2. Amon Amarth - Berserker

3. Fleshgod Apocalypse - Veleno

4. Eluveitie - Ategnatos

5. GloryHammer -  Legends From Beyond The Galactic Terrorvortex

6. Cattle Decapitation - Death Atlas

7. Thy Art Is Murder - Human Target

8. Grand Magus - Wolf God

9. Lacuna Coil - Black Anima

10. Nile - Vile Nilotic Rites

William Takashi Philpot

1 - Gloryhammer - Legends from Beyond the Galactic Terrorvortex
2 - Rotting Christ - The Heretics
3 - Darkthrone - Old Star
4 - Behemoth - I Loved You At Your Darkest
5 - Devin Townsend - Empath
6 - Mayhem - Daemon
7 - Sabaton - The Great War
8 - Amon Amarth - Berserker
9 - 1349 - The Infernal Pathway
10 - Opeth - In Cauda Venenum

Bruce Powell

1. Gloryhammer - Legends From Beyond The Galactic Terror Vortex 

2. Leprous - Pitfalls 

3. Windrose - Wintersaga 

4. Necronautical - Apotheosis 

5. Formicarius - Rending The Veil Of Flesh 

6. Sabaton - The Great War 

7. Alcest - Spiritual Instinct 

8. Beast In Black - From Hell With Love 

9. Hecate Enthroned - Embrace Of The Godless Aeon 

10. Enforcer - Zenith

Matt Bladen's Top 20 Of 2019

1. Opeth - In Cauda Venenum

Really in 2019 there wasn't going to be any argument, In Cauda Venenum is a majestic album from a band who have reinvented themselves into one of the most inventive acts on the current music scene. Released in both English and their native Swedish I would urge you listen to the album in Swedish first as this is how it was meant to be heard. Promoted by an extensive tour and glorious headline set at Damnation, In Cauda Venenum is the culmination of the Opeth transition that will see them headlining several festivals next year.

2. Wilderun - Veil Of Imagination

If you do miss the 'older' sound of Opeth though you could always check out Veil Of Imagination by Wilderun. A band who started out as folk metal act not too dissimilar to Amon Amarth, they really stepped up to another level on their third full length. Intensely progressive, devastatingly heavy and full of folk, jazz interludes, incredible vocals (those gorgeous clean/growl changes) it's everything you want Opeth to still be...if you don't like the new direction too much.

3. Dead Shed Jokers - All The Seasons

All The Seasons, the third album from Welsh wonders Dead Shed Jokers is probably their finest work, born out of mental health struggles, addiction, marital breakdown that may have ended most bands. DSJ channels these challenges into an album that is part Soundgarden, part Pearl Jam, part Kyuss with the introspection of Nick Cave but with a style all of it's own All The Seasons is the most emotive album of the year hands down.

4. Wheel - Moving Backwards

One of the major surprises of the year was the debut of Wheel, yet again a prog band but full of heavy grooves. In a year where Tool finally released an album, the almost hypnotic nature of Moving Backwards not only reminds me of Tool, but to me does what they do far better. Live they bewitched us both at BOA and Damnation and hopefully they will do so again in Bristol in February. Where all of Moving Backwards will excite again.

5. Rotting Christ - The Heretics

The Greek black metal legends enter their 30th year with an album that blows the mediocre Rituals out of the war with the bands epic, vicious, well honed and defiant extreme metal sound the most focussed it's ever been. The Heretics is the sound of band who have never conformed at all still standing high above any others who would lay claim to their throne. Non Servium!

6. Lord Dying - Mysterium Tremendum

Mysterium Tremendum serves as Portland psychedelic doom metal act Lord Dying's third album takes their sound into hyperspace, the four piece have sludge, stoner, doom and psych all wrapped up with space rock vibes, impressive soaring guitar solos and great vocals.

7. The Offering - Home

I made no bones about why I loved this record. it sounds like Nevermore. A band who are one of my favourite bands ever, perfect vocals, gothic, heavy riffs and emotion throughout, Home reminds me of all the things I loved about Warrell Dane and Jeff Loomis' progressive metal mastery, yes they have their own style of course but it's the warmth they put in my heart why I love this band.

8. Mammoth Weed Wizard Bastard - Yn Ol I Annwn

Having been a supporter of the North Walian purveyors of all things heavy from their debut record, their 2019 effort is the most accomplished to date, adding layers of 80's synths on top of the crushing doom metal they have always done, it's the most accessible record to date but still melts your brain with every listen.

9. Idle Hands - Mana

I mentioned in the review of Mana that Idle Hands remind me of In Solitude and much like them Idle Hands merge sexy goth rock with NWOBHM galloping to brilliant effect, it's dark brooding but full of anthems, it''ll have you dancing until midnight.

10. High Command - Beyond The Wall Of Desolation

It takes a lot for me to put a thrash album in my top 20. Unlike a lot of my colleagues it's not a genre I've ever been a huge fan of however for me High Command's Beyond The Wall Of Desolation is probably one of the best thrash albums of the year with it's unrelenting mix of speedy crossover and bouncing metal riffage, it begs for pits! 

11. Eternal Storm - Come The Tide

Spanish progressive death metal act Eternal Storm brought the fury, swathes of orchestration bolster the blistering death metal sound for an album that has a cinematic scope to it. It knocked me for six as soon as I heard it, the album flows into itself perfectly with conceptual feel to it.

12. SiXforNinE - Parallel Universe

A change for Greek metal SiXforNinE who adapted their style into a more American-influenced metal style, adding massive chorus hooks and chunky riffs to the prog/classic rock sound on their debut. It took me a few listens to get into this record but once I did I found myself singing along on repeated listens.

13. Paladin - Ascension

If you love guitar wankery then buy Ascension by Paladin. It's galloping power metal played at lightspeed, the twin axe attack is unleashed on every song making for an album that just pips the new Dragonforce record for sheer silliness mainly due to the use of clean/harsh vocals and a heavier sound. 

14. Krysthla - Worldwide Negative

The third album from heaviest band in the UK, saw them evolving into a band that opened the mainstage of BOA with a record that brought (gasp) clean vocals on top of the skull crushing riffs that they always have. With this record under their belt 2020 could be a big year.

15. The Neptune Power Federation - Memoirs Of A Rat Queen

Psychedelic cosmic blues rocking that merges AC/DC with Ghost while being fronted by Janis Joplin, it's wild, raucous and oh so trippy Memoirs Of A Rat Queen is whirling dervish of heavy rock riffs and rough and ready rock n roll.

16. Year Of The Goat - Novis Orbis Terrarum Ordinis

Something that stays in the occult realms is the latest from Year Of The Goat, a few years in the making this sinister, gothic masterpiece of an album. As Ghost were called the best metal act of the decade I'd argue that Year Of The Goat are probably more authentic to the gothic hard sound of BOC and Pentagram than the Tobias Forge etc. Novis Orbis Terrarum Ordinis proves this, as a hint play it on a full moon for full effect.

17. Wille & The Bandits - Paths

One of the first release reviewed in 2019 was one that hardly stayed off the music player since. An eclectic enticing mix of sounds that range from country, blues, grunge rock Wille & The Bandits put a lot of effort in their music with Wille Edwards raw Cornell-like voice and furious slide playing makes Paths a record I will keep going back to even into 2020, waiting with baited breath for a follow up.

18. Dragonforce - Extreme Power Metal

Extreme Power Metal is everything Dragonforce is known for, insanely fast playing, high pitched vocals, blast beats galore and lyrics based around video games and fantasy. It's probably the best album they have released with Marc Hudson on the vocals, it's Dragonforce embracing their musical past while looking forward to the future without giving a shit about fashions or detractors.

19. Stonecast - I, Earther

I, Earther is the third record from French metal band Stonecast and sounds so much like Blind Guardian it's untrue, from the vocals to the speed metal riffs I, Earther could be a lost BG album, though it's not a shameless pastiche but a very good metal album for any fans of the speed metal. One of the trad metal albums of 2019 and my favourite for sure.

20. Smoulder - Times Of Obscene Evil And Wild Daring

Epic doomsters Smolder are about as retro as it comes, songs of fantasy and warfare, powerful vocals and epic doom riffs. It smells of denim and leather so grab your broadsword and your dragon for Times Of Obscene Evil And Wild Daring. 

Alex Swift's Top 20 Of 2019

And now for the hardest piece to write every year. As usual, I had lots to choose form and only 20 spaces to fill. Still, this is my opinion as it stands at time of writing…

20. Marianas Trench – Phantoms

Phantoms sees Marianas Trench taking what they have learned, and using that knowledge to explore a darker side of themselves. The theme? Being haunted by spirits of former lovers. The resulting album is arguably their most accessible piece of work to date, yet also holds a sinister quality, not typically seen within the bounds of so-called pop-rock.

19. Slipknot – We Are Not Your Kind

On their sixth studio outing, Slipknots fiery anger is brought to the forefront. Sizzling yet nuanced, the piece is easily among their as-yet works. Whatsmore, the album takes risks, making for a kaleidoscopic yet harrowing experience. . ‘I haven’t felt like this in years’ Taylor admits at one point on the album. To fans who have stuck by the band for through thick and thin, the answer is a solemn yet determined: ‘we know’.

18. PUP – Morbid Stuff

Taking a comical look at depression can be a risk as well, but when done right, it can emphasise the maddening, absurd or even miserable aspects. Morbid Stuff achieves this excellently, taking the listener through the strange and outlandish aspects of feeling unimportant, and striving to entertain a positive message. True, it’s nihilistic, yet instead of dragging you to hell, it will simply make you gaze straight into its jaws, while unashamedly singing ‘I’ve been having some pretty dark thoughts, I don’t like them a lot’.

17. Artificial Language – Now We Sleep

Now We Sleep is embroiled in elusiveness and mystery. The timed discrepancies in songwriting behave towards the listener’s expectations, the same way you’d expect a fox to behave to a rabbit – with cunning and savageness. An artificial or constructed language is one which is consciously devised. Many people have termed music as a type of language, and while that’s a debate for another time, if true, it would be a language Artificial Language are fluent in. Poignantly, in conveying meaning and emotion the music here excels, in detailed and precise fashion

16. The Wildhearts – Renaissance Men

For the Wildhearts first album in ten years, this is an excellent record, bursting with vivacity. Perhaps the only thing which saddens me is how overlooked this band have always been and will continue to be. Still, to a small yet dedicated following, there is no band as beguiling and robust. I for one can say I’m proud to be a fan. Whatever lies ahead for them, I’m sure it will be remarkable. Arriba!

15. Moron Police – A Boat On The Sea

One thing I was not expecting was an epic album with influences from Jazz, prog and Disney Soundtracks. I mean that in just about the greatest way as well. Much like the exuberant art, the whole experience bursts with life and colour. Exaggerated though strangely contemplative, the album is packed with anti-war anthems – a long shot from their early ridiculousness. All these elements combined make for a record which ticks every box in my book

14. Saor – Forgotten Paths

Not often can you call albums so aggressive, beautiful. Still, with the furrows of melody which spill from every second of Forgotten Paths you forget the genre and become transported to stunning rolling landscapes, and natural magnificence. The detail which Saor pour into each visceral moment, requires you to occasionally take pause to contemplate everything you are hearing. Taken on the surface, you could describe the project as Black Folk Metal. Delve beneath the depths though, and you witness a world of influences, both musical and natural, with a primitive nature as a vessel to carry strong emotions.

13. Holding Absence – Holding Absence

Perhaps one of the greatest alt rock albums of the year, Holding Absence pack so much energy and vigour into their debut that you’d be forgiven for thinking they’d been around for years and knew the tricks of their trade of by heart. In doing so, the album embraces darkness and becomes truly relatable as a consequence. As well as being a record which will appeal to long-time fans of the alternative genre, it also has the potential to transcend those boundaries.

12. No Man – Love You To Bits

Here’s an oddity for me, a trip-hop, disco, synth album, on a year-end list. In describing the record, Tim Bowness and Steven Wilson have called it “The least progressive thing we’ve ever done in terms of the music but the most progressive thing we’ve ever done in terms of capturing the spirit of what that music did’. He’s not wrong in that analysis. The throbbing beats, changeable melodic phrases and elusive dances which compose Love You to Bits, embody the revolutionary nature of early dance acts, while still being a unique creation by a modern act.

11. Leprous – Pitfalls

With their venture into more electronic, minimalist, experimental waters, Leprous have created one of their most unique albums yet. The entire experience is carried by contrast, quiet becomes fierce, mumbles become wales, a lone violin becomes a dramatic string section. Perhaps the most glaring of those contrasts though comes in your – or at least my – experience of the album, in which even the moments I initially drew away from, slowly yet surely enticed me, until I was fully under the albums aura.

10. Tool – Fear Inoculum

Can Fear Inoculum live up to expectations? The answer to that question has to be ‘No’. Considering all the hype across those thirteen years, of course expectations are not met. Can Fear Inoculum stand on its own as a great record? Absolutely! Everything here sounds like Tool, yet the album differentiates itself through the hypnotic, cerebral and entrancing elements which don’t so much as present you with a glorious painting to marvel over as they do give you a puzzle to take time with and piece together. Do not expect to be enraptured on first listen. Here’s a piece which rewards for your patience.

9. La Dispute – Panorama

Severely direct and relatable, Panorama is not an easy record to listen to, purely for the reason that we have all been in a situation where we have felt alienated from another’s anguish. If you love someone and they hurt themselves, or you care for someone and they hurt you, that emotional weight can be paralyzing, even if it appears pale in comparison with the actual pain of your loved one. To hear that feeling captured so precisely, in musical form, serves as a deeply emotional yet tumultuous experience.

8. The National – I Am Easy To Find

Scouring the National’s discography in recent weeks has been a journey, especially in seeing the way that they have evolved from outsiders to outsiders reinventing rock and pop music. The gatekeepers of arts would reserve the term immersive for paid experiences which charge you at the door, for short term exhilaration. Still, in making music which flutters and flurries through your senses like a butterfly caught inside a dream, and making an accompanying film, the Ohio innovators have created a piece which not only immerses yet submerses you in beauty.

7. Chelsea Wolfe – Birth Of Violence

Chelsea Joy Wolfe makes mercurial textures of moroseness. I can’t say much beyond once more remarking on the delicate way Chelsea Wolfe knits pain into a mesmeric sort of beauty. You often hear the adage that depressing music can often be the most uplifting or moving. Birth of Violence performs that balancing act with absolute precision, despite being another great reinvention, in a career imbued with exquisite sadness

6. Opeth – In Cauda Venenum

I don’t care how much Mikhail decides to growl or how closely he works with Steven Wilson, Opeth to me will always be one of the finest, skilled and brilliant acts in modern music. In Cauda Venenum rejoices in being dramatic and taking on a surreal, hypnotic quality, which continues to prove their penchant for evolution, even today. Rarely do you see an alum which simultaneously rivals and matches past triumphs, yet ‘the sting in the tail’ defies even the expectations these musicians set for themselves.

5. Baroness – Gold And Grey

Cascading influences from folk to experimental, debates will continue to rage about whether or not Gold and Grey truly earns the mantle of greatest Baroness album – though no one can deny its uniqueness in the acts already quite mottled catalogue. The songwriting is powerful, the playing immense and while some may have gripes over the production – to me the choice solidifies the idea of this being a truly magnificent piece in modern music

4. Cellar Darling – The Spell

Tell me, dear reader, do you believe in sorcery? How about after hearing The Spell? Capturing in vivid, enchanting, and mystical detail, the ritualistic concepts they experiment with, you feel a subtle hypnosis overtaking you as you listen. Many of the sounds are reminiscent of Celtic folk or indeed early metal, yet the fervour with which they combine those concepts proves truly enthralling, even though all the melodies, all the up’s and downs, all the mysterious lyricism, it always proves a journey worth taking.

3. Thank You Scientist – Terraformer

There are many variations on progressive rock. However, a gross oversimplification would be that there are two types: The prog which is accessible and influenced by easier to broach music, and the prog which is difficult, and inspired by Jazz or Classical. Plenty of acts don’t fit into that analogy and plenty have brought those influences together in the past. However, by committing to the idea so wholeheartedly, Thank You, Scientist, have established themselves as one of the finest acts in the modern prog movement.

2. Nick Cave – Ghosteen

Beautifully sad, yet brilliantly thoughtful, Ghosteen is a gorgeous reflection on tragedy that speaks to the enduring genius of Cave so many years into his career, while making us reflect on our own relationship with grief and loss. Lyrics rise and fall like crests of waves, while instrumentation retains a sparse yet incredibly expressive feel. Even in his finest moments our frontman has never sounded so honest, poetic and graceful.

1. Devin Townsend – Empath

Enthralling, multifarious and brilliant, Empath combines Devin’s influences with precision and mastery. The cleverness with which our crazy frontman commands ideas from extreme metal, to pop, to musical theatre, to animal noises is truly a sound to behold. Moreso, the message of finding empathy in a world of cruelty and division, proves poignant and strongly carried. As well as being my album of the year, this may also be Townsend’s crowning achievement! ‘There’s a sign on the borderlands, it says shine like a galaxy and woe to those who fear this!’