Reviews: APEP, Victory, Bodysnatcher, The Blacktones (Reviews GC, Paul Hutchings, Zak Skane & Rich Piva)

APEP - Before Whom Evil Dwells (War Anthem Records) [GC]

Having had a bit of a break from the death metal grind, today I am back on the scene and have the second release from German death metal band APEP, Before Whom Evil Trembles a completely new name for me and a quick read up says that there is a technical style attached to their sound but that’s about as much as I have been given!

It starts with blistering force and beautiful chaos on Enslaving The Putrefied Remnants Of The Deceased which is a whirlwind of pummelling death metal that has no room for any nicety and instead just is just set to all-out attack, there is a slight slowing of pace midway that maybe dulls the overall force of the song slightly but it’s a good way to begin and carries forward into The Pillars Of Betrayal but it doesn’t take long for the speed to return and the familiar death metal racket is with us again and while there isn’t much originality on show the way they put it all out there with a bucket load of conviction, makes for a passionate and endearing song, much the same happens on Tombs Of Eternity which is full of technical and dexterous guitar work with a fantastic drum showing as has been the way from the start and while I can admire what I am listening to and enjoy it.

I just cant shake the feeling that I have heard it all before and that’s not trying to sound harsh because it seems like to me it does take a lot to stand out if you’re in death metal band and if you haven’t got that x-factor to really stand out above the crowd it really can feel like a case of death metal deja’vu at times. Wanderers In The Waste is a little eastern tinged interlude and then it hits me like a brick falling from a pyramid, the sound is rooted firmly in the Nile-like Middle Eastern mindset and it has the familiar sound patterns but so far doesn’t fully live up to that lofty comparison. 

Then Goddess Of Carnage is unleashed, and it sounds just unbe-fucking-leavable!! and make you wonder why they have been waiting until now to show us what hey are really capable of playing, it is just an unrelenting and savage run though with not one note wasted and no slow parts it’s just a beautiful showing of how vital and invigorating death metal really can be and as the shortest track on the album so far really leaves its mark on you. The urgency continues with The Breath Of Kheti and will leave you slack jawed and slightly amazed that its taken this long for APEP to really open up and show there hand because if the first half of this record had sounded like this we could have been on course for an absolute worldie of a record and the Nile comparisons may have been actually considered, this is a breathless and savage, snarling assault on the ears in the best way and it is wonderfully relentless all the way to the end.

Then unfortunately we get the mammoth Swallowed By Silent Sands which clocks in at an unhealthily long and unnecessary 10:23 and with the marathon length we get back to the more paired back and slower sound which seems to go on, and on and on and on and just absolutely stunts the ferocity that has been building and feels like somewhat of a dissatisfying and annoying end to the album.

This album felt like a game of 2 halves for me and looking back now I can see that the first few tracks, while not really hitting as hard as I would have like they were building towards something furiously enjoyable but that burst of fantasticness didn’t last anywhere near long enough for my liking and also, for album that only lasts 7 songs to have an interlude/instrumental on it just seems lazy to me?? Anyway, a pretty decent listen overall that any death metal fan will no doubt enjoy but can’t see it troubling any AOTY lists or anything. 7/10

Victory – Circle Of Life (AFM Records) [Paul Hutchings]

I believe that Circle Of Life is Victory’s 11th studio album. We last encountered the German quintet in 2021 when they released Gods Of Tomorrow, their first album for a decade. It was described by Simon Black as “good but not great”, and I can see exactly why he said that at the time, for Victory don’t do anything that is mind-blowing but what they do produce is solid hard rock and heavy metal that could sit under the moniker of hundreds of other bands. 

A football analogy? The steady dependable goalkeeper who rarely drops a bollock, whose presence behind the back line is reassuring, dependable, but who is missing the flamboyance and dynamism of the risk-taking peer. Think David Seeman rather than Bruce Grobbelaar, if you are of that vintage. If not, contact the Editor, and I’ll think of a modern equivalent! 

Victory is, of course, the vehicle for German metal legend Herman Frank, the former Accept stalwart who has been the mainstay of the band since 1986. The current line-up appears to be settled, with Frank joined once more by singer Gianni Pontillo, Mike Pesin (guitar), Malte Frederik Burkert (bass) and drummer Michael Stein.

Ten songs of solid composition spread over 45-minutes. It’s not a chore by any stretch to listen to Circle of Life, but there is little to really spark the excitement. Tonight We Rock and American Girl, the duo that open the album, are reasonable if cliched. It’s all a bit one-paced, and on songs like Moonlit Sky the song just lumbers along with no real drive.

Musically I can’t fault it. The playing is impressive, Pontillo’s vocals are strong and powerful, and the guitar work weaves and winds its way through each song. One might call some of these songs anthemic. Falling is a posturing track that sounds just a little dated, a real 80s throwback, and whilst there is a polish here, it’s not holding the attention in any great manner. Money does have the riffs and hooks to draw you in, but it doesn’t really snare you in any great way.

That’s not to dismiss Frank’s lead work, which is a highlight, or the overall musicianship. But in a world of saturation, songs like Reason To Love, which is a rather drab semi-ballad, just fade into the ether. Sure, if you like melodic hard rock with harmonies and soaring choruses, then Circle Of Life might float your boat. Sadly, I’m sunk on the rocks, and although there is no danger of me drowning, I might not do much more than drift. 6/10

Bodysnatcher - Vile_Conduct (MNRK Heavy) Zak Skane

The brutal deathcore outfit that creates music that matches their grotesque imagery. The band has paved themselves away in the underground scene to be one of the brutal deathcore acts in the modern metal scene along side bands like Spite, Filth and Slaughter To Prevail. The band have got almost got ten years worth of brutality under their blood stained belts with releases like Abandonment, Death Of Me, This Heavy Void and Bleed Abide, whilst following their up and coming E.P, Vile Conduct.

Vile Conduct still comes with Bodysnatchers tried and tested formula of beatdown in cased Deathcore, but with Will Putney at the mixing and producing helm, the bands sound has become more refined than before. For example, the bands song writing has become more catchy as well as heavy on songs like Severed, which brings in the punches by taking us back with mid 2000’s influences with it’s pounding chugging patterns, tremolo lead playing and pumping breakdowns. 

Whilst also bringing this mainstream song structure approach that just gives this sweet and sharp catchiness whilst the closing track Say Goodbye brings in some rusted coated hooks. The quad tracked guitars that Will Putney engineers sound as crushing as ever before, especially on tracks like the opener Infested, which just hit you like a freight train from it pick digging tremolo sections to the colossal sounding beat downs. Another high light is the concrete slabbed riffs on the track Human Disdain, which the drummer and the guitarist create this brutal assault on the ear drums with those chugging kick drum patterns working in tandem, whilst the bass parts are wrapped in this crushing tone. 

The vocal tracks sit a lot more cleaner in the mix in comparison to previous releases, which gives the vocalist more of a platform to spew out the bile and venom filled lyrics that the band have conjured together, whilst Will Putney ensures the vocalist still keeps the aggression consistent, especially on songs like the bioweapon like catchiness of Severed, the hardcore delivered tag team from Jamey Jasta guest appearances on Murder8 to the vindictive closer on Say Goodbye.

Even though the delivery is short, it doesn’t soften the audio assault that Vile Conduct is willing to give. Will Putneys collaboration to the bands sound basically lifted the lighting out of it’s existing bottle and amplified it by putting it into the electrical grid. The breakdowns sound more brutal but yet dynamic, whilst the drums and vocals sound a lot more polished in the mix whilst keeping it’s serrated edge. For fans of Spite, Filth and The Acacia Strain. 8/10.

The Blacktones - The Longest Year (Sleaszy Rider Records) [Rich Piva]

While the name The Blacktones sounds like a blackened ska band that Moon Ska or Asian Man Records would put out, alas, they are actually a sludge band from Italy. Instead of unleashing the horn section on you they are bringing the absolute heavy on their third record, The Longest Year. This is some good stuff, combining heavy riffs, clear and screamed vocals, and some serious musicianship for fifty minutes of some high-quality sludge that starts to lean more towards cleaner modern metal, but still executed very well.

What makes it so good? Well take the first full track opener, The Threshold. You get some very cool clean vocals, answered by that scream, with this dreamy Deftones type vibe over the track. Now I don’t love the Deftones, but I think you will get what I am saying when you hear this one. Like you know how the Deftones wish they were a shoegaze band? Then you get it. The Blacktones tower over you on The Longest Year, with case in point being that opener and a track like Noise Pattern, when the band rips you up with riffs but still maintain that shoegaze meets sludge vibe that I can only assume they were going for. 

The band can thrash it up when they really want to also, check out about a minute into this one. There is a modern metal feel to The Blacktones as well, as Greenhouse sounds almost radio friendly, adding some synths to the mix with high quality results. A song like The Parade sounds more like Katatonia than anything remotely stoner, so I would use that as a reference point more than say, a band like Baroness or Mastodon, but either way this is some good stuff. The record may run a bit long and drag in some places, but overall, the third record from The Blacktones is big and heavy, a cleaner product but still sludgy, and worth your time. Check out The Longest Year. No horns necessary. 7/10

Reviews: David Gilmour, God Is An Astronaut, Vestige, Copse (Reviews By Matt Bladen)

David Gilmour - Luck & Strange (Sony Music CMG)

Pink Floyd is dead baby. David Gilmour said so. Each time he's been interviewed over his new album Luck & Strange, they ask him about the legendary British prog band he was a part of and it seems the split between him and Roger Waters is irreparable.

Don't fret though as there are 100's of Floyd tributes and at least three of them are brilliant, Nick Mason tours with Saucerful Of Secrets playing the pre-DSOTM material and for a long time David Gilmour has been a solo artist playing with all the emotion and drama he infused into Floyd's music for years.

Luck & Strange is his first solo album for nine years, again it has music written by David himself as the personal, romantic lyrics of Polly Samson, and Charlie Gilmour are sung with that oh so familiar voice, the strain of age starting to show on the title track where the highs break with fragility of a man who is 78 years old.

Much of the record was written and recorded during lockdown, between Brighton and London, alongside, friends, long term collaborators and family perform on the record. Yep Gilmour's daughter Romany sings and plays the harp on the reworking of folk classic, Between Two Points by The Montgolfier Brothers and the final number Yes, I Have Ghosts. Her voice compliments her father's well, with a similar timbre to Dido and many of the UK prog rock acts.

The title track has a long history, presented here in two versions the original elongated 'Barn Jam' version features keys from the much missed Richard Wright. Clad in an atmospheric, esoteric Anton Corbijn cover artwork, Luck & Strange is possibly the darkest, most experimental work to date as co-producer Charlie Andrew pushed him to write music that was naturally opposite to what people would historically expect.

Well that is with the exception of The Piper's Call which is 'Proper Floyd', though A Single Spark owes a debut to the likes of Nick Cave, while Dark And Velvet Nights is a smoky ode to long lasting love/lust and the Beatles-esque Sings which has plenty of Cümbüş Guitar, looks back on David and Polly's life together.

A record of nostalgia, set to a varied musical background that has the distinctive David Gilmour touch, Pink is dead but his spirit carries on here. 9/10

God Is An Astronaut - Embers (Napalm Records)

Hypnotic, sonic soundscapes are the order of the day for any God Is An Astronaut album, whether it's on record or in their live shows, the instrumental prowess and compositional mastery of the band always grabs the audience.

Things are no different on Embers, the latest offering from these Irish post rock veterans and it has brothers Torsten and Niels Kinsella alongside drummer Lloyd Hanney, taking along for another journey through genre and style. Be it post rock, shoegaze, krautrock or psych and many others in between Embers treats you to probably the most buoyant material the band have written, though the concept of our finite existence is the overarching theme of the record. Falling Leaves is dreamy, as Embers takes a synthwave route.

Odyssey leans on folksy acoustics with world music flourishes from Sitar and other eastern instruments as Dara O'Brien (not the comedian) and Sean Coleman bring their multi-instrumental prowess while the majestic Realms and Prism has the cello brilliance of Jo Quail. Another beautiful record from God Is An Astronaut who continue to be at the apex of post rock. 8/10

Vestige - Janis (Season Of Mist)

Vestige is the vessel for vocalist/guitarist Théodore Rondeau to exercise his demons, following an emotional journey that brought some kind of catharsis for all involved not just Théodore. Joining him are Pierre-André Krauzer on the bass, Quentin Regnault on drums and Thomas Petit on guitar.

Krauzer, Regnault and Rondeau were all part of Naraka who toured with Alcest, the reason why Alcest's Neige appears on Automne Part 2. Janis is a debut album that has been a long time coming the end of a personal journey the band signing to Season Of Mist to get their debut out there.

What about the music then? Well Janis is an album of atmospheric post metal similar to Alcest as they shift into the the progressive alt style of Deftones too on Corrosion, the layered guitars playing angular melodies against the grooving backline on Démence De l'Âme, but don't think it's all blissed out ambience, there's a bite to Vestige and while Alcest lean into black metal, they have more modern metal aggression with track such as Appel De l'Âme.

As they drift away with Avant la Fin, Janis ends in a beautiful way, securing Vestige as a band who have a bright future in front of them. 8/10

Copse - MMXXIV (Church Road Records)

MMXXVI is a compilation of both Copse's previous EP's, making a five track album at 40 minutes in length. For fans of bands such as Møl and Deafhaven, you could call Copse blackened shoegaze as dissonance and atmospherics sit hand in hand. There's a surplus of post metal too with Modrem leisurely making its way with a disconcerting ambiance that is broken several times in this 9 minute number.

Much of Copse's power comes from their use of pace and anticipation, the slow burning tracks build into raging flashes of extremity, screamed vocals and blastbeats with Mara the initial display of this, Old Belief the song that is the most direct and ferocious song here, counteracting their established song writing blueprints, New Despair though is a 15 minute way to reconnect with Copse's core sound.

Having already played ArcTanGent last year Copse are a band who show masses of talent and rather than searching for their EP's they are presented here for easy listening by Church Road Records. 8/10

Review: Winterfylleth (By Rick Eaglestone)

Winterfylleth – The Imperious Horizon (Candlelight/Spinefarm) [Rick Eaglestone]

As we come into the latter part of this particular trip around the sun, Winterfylleth return with a sonic blizzard rammed with a plethora of atmospheric black metal in the form of grandeur composition The Imperious Horizon.

Opening with icy soundscapes and an immediate ominous presence is the instrumental First Light which effortlessly weaves into the blistering Like Brimming Fire showing off an ever-evolving maturity and early on showing that seven releases in just why they are so revered in these isles. As a collective every element is meticulous and by the time Dishonour Enthroned has ended with it captivating narrative there is no doubt for me that is going to end up in a lot of lists this year.

Now although have playing this for what feels like an eternity and pre ordering different formats it is only now that I can sit down a fully digest and appreciate fully the spectacle that this album has formed into, recently the band have announced some accompanying UK dates and in particular I am very much looking forward to hearing the combination of the majestic Upon This Shore and title track The Imperious Horizon.

The longest track of the album In Silent Grace is a great showcasing of the bands musicianship and contains for the most part a slower more purposeful element that really has its own heartbeat with swirling solos and big drum patterns, the addition of Primordial also adds another dynamic.

To The Edge Of Tyranny brings a visceral tone with it, this time with prominent basslines and catchy riffs underpinned with real charge which is complimented with an acoustic folk laden piece Earthen Sorrow is melodic and melancholy in its own right and its short nature is a wonderful introduction to the final track The Insurrection which really completes this 8th releases by really encapsulating the overall aesthetic of the overall creation.

Guitarist/Vocalist C. Naughton commented: “In some ways, the album is a reflection on the mania of the years since the last album, how the world has changed for the worse, and moreover how we all feel like we are living in a more divided and upheaved world ever since! The title speaks to a looming sense of some dominant power or agenda that is coming, just over the horizon. It’s on its way, and we don’t know quite how it will manifest, but we know that it is creeping ever forward, and it is inevitable.”

There has certainly been an outpouring of feelings and emotions throughout this listening journey from utter joy to a deep wavering sorrow which I would not trade in for a single second it is quite simply my album of the year. 10/10

A View From The Back Of The Room: Nile (Live Review By Charlie Rogers)

Nile, Hideous Divinity, Intrepid, Pestifer, The Fleece, Bristol 05.09.24

Having very recently released a new banger of an album (please see my prior review for more info), it makes complete sense for Nile to hit the road and share the new tunes with the world. Stopping in at Bristol as the first part of their English/Scottish leg (it’s not a UK tour if you don’t come to Wales), The Fleece is an obvious and welcoming venue for bands of this high calibre. Despite the dismal weather heralding in the start of autumn, spirits were high and the crowd was dense, eager to partake in the desert rituals. First timers and repeat offenders alike, a palpable anticipation thrummed through the air as the first band of the night blasted onto stage.

Belgian tech death aficionados Pestifer (7) were a complete unknown to me before this show, somehow evading my attention despite being active for 20 years. Lots of groove, great use of fretless bass, and completely undeterred by being the opening act of the night, their performance was enthusiastic and captivating. 

The intricate riffs usually shone out over the roar of the drums, but sometimes got lost and muddy - either due to slight mistiming or perhaps the FoH sound not quite being dialled in yet. Still, an impressive enough performance to warrant further exploration, and find out what I’ve been missing out on over their 3 full length releases.

Next up, Estonian self described old school death metallers Intrepid (7) add yet more weight to the argument that in death metal, the better your drummer is, the better your band sounds. Blisteringly quick double kick and tight blastbeats punctuate the otherwise simplistic riffs, occasionally seasoned with flourishes of sweeps, tapping, and lead lines from stage left’s lead guitarist. Hogging 90% of the band’s charisma, the vocalist dominated the centre stage, eagerly leaning over the crowd to deliver his guttural barks and roars. 

Having attended 5 previous Nile tours, there’s usually a recurring theme with the support choices, and despite their solid playing I was wondering about the choice to bring such a different sounding band on board with the Egyptian themed headliners. Then, Intrepid played a riff and a lead line that featured that iconic eastern scale pattern, and it all made sense. Again, a band that’s been kicking about for nearly a decade now, but fresh and new to my dusty old ears, and they’ve left a good impression. Let’s see what they can make from this exposure.

Top support act of the night lands in the very capable hands of Rome’s Hideous Divinity (9), a terrific bunch of lads I’ve seen on multiple occasions in multiple countries. Sporting a new drummer after the recent departure of their long serving sticksmith, and also having released a new full length a few months ago, the Italian Stallions wasted no time in trotting out their fresh offerings to the eagerly awaiting crowd. Moving away from their initial intensity driven songwriting approach, the newer material takes more time to establish a threatening aura, which translates well to the live scene. 

The darkened room a fitting locale to tell tales of the OG bald terror that lurks in the night, Nosferatu, or the otherworldly horror of H R Giger inspired Xenomorphs in the song Chestburst. The band gelled together well, no doubt newcomers to the Hideous show would not have been able to guess that this line up is still fairly new to the touring circuit, and indeed is the first time it’s seen British soil. Using the full width of the stage, bass, guitar, and vocals all moved around, making sure that the whole audience got a good look at the members despite The Fleece’s pillars obscuring line of sight from some angles. 

An extremely solid show, but with a back catalogue as strong as theirs it would’ve been nice to hear a few more off some of the other records, but maybe that’s just me being salty they didn’t play my favourite of theirs - Bent Until Fracture.

Wrapping the night up like a well preserved mummy, Nile’s (8) entry to the stage was greeted by a deafening cheer of the eager audience. Those foolish enough to waste their time outside rather than watching the support acts scurried inside, and the crowd heaved with excitement as the South Carolina 4 piece opened their performance with long time fan favourite Sacrifice Unto Sebek. Having recently also undergone a lineup change, this was also the first time this setup had graced us with their technical prowess, with head honcho and founding member Karl Sanders beaming to see that despite the changes in his support players, the audience never ceases to demand his brand of mythological worship. 

That said, with any new band structure, there are going to be some teething issues. Sometimes there was some confusion on stage as to who was supposed to be doing which vocal - not a simple task when 3 of you are sharing duties - and for whatever reason the lead channel for new guitarist Zach Jeter was way louder than everything else, leading to his visible confusion every time he went to play a solo. It was a solid set, which featured a host of new tracks from the new album, interspersed with classics and staples of the band’s set. Nile have earned their spot at the high table of death metal gods, and their continued ability to deliver solid live shows, despite a few technical hiccups, demonstrate this utterly. 

While this wasn’t the best I’ve seen them, it’s certainly one of the best shows I’ve seen in a long time. It’s high time the Nile show came back to Wales, let’s see if we can make that happen on their next visit!

A View From The Back Of The Room: Mangata Spotlight Sessions (Live Review By SJ)

Mangata Spotlight Sessions, The Old Cold Store, Nottingham, 31.08.24

Mangata Spotlight Sessions (8) showcase artists who have appeared or who may appear in Mangata Festival, generally focusing on local artists/bands. The Old Cold Store got its name as it was a room that used to keep the beer cold. The venue was quite active before the start time with the bands and crowd mixing outside getting in some preshow drinks and laughs.

The relatively new metalcore band, Frame The Hero, were first up and the headbanging already started from their first song, demonstrating their already formed fanbase. Their debut song Paper Chains, Dead Behind The Eyes and Seconds I Waste (The 1st song they wrote) all displayed the singers’ heavy vocals. Spliced in between the songs was humour and comradery between the members, making the crowd laugh. 

Next up were Close Ties, the 5-piece metal band who brought a lot more energy to the stage. This was their first time performing in Nottingham and they certainly left a mark. They performed their new song The Under and ended on The Great Divide, with one of their songs focusing on grief “Say your last goodbye.”

The crowd did start to thin out a little for the next band, Skitz Wizards. The hardcore punk band with no guitar but two bassists. There was a bit a of reverb during this set however they still put on a powerful performance. Following Skitz Wizards were CaveKiller who combined their death and metalcore influences and predominantly heavier vocals. At one point they got the crowd to get low to test our squatting abilities.

All the way from Brighton is Glass Grave, the four piece metal band. The lead singer could control the lights by using foot pedals. They came off the stage and into the crowd which roared them up. They ended their set on a high with 12 Rounds. Another fairly new group, Eschalon, formed in 2023 are a tech metalcore band with two vocalists. They got the crowd headbanging and singing along to their music. The penultimate act, Wolves Don't Sleep also put their all into their performance.

The headliner of the night, Seething Akira, are such a standout group! They always bring the energy and tonight was no different. They blessed us with some new songs and classics such as Punishment Instructions which got the crowd riled up. Mosh pits formed; the crowd was singing along which just amplified everyone’s enjoyment as quoted by a member of the crowd “Your mind can refuse as much as it wants but your body cannot resist the infectious energy.” Charlie and Kit both came down into the crowd to join in the commotion and pump the crowd up more.

Between sets, everyone congregated outside to get fresh air and recharge for the next band. The black walls and stage elevated the lighting and matched the vibe of the bands individually. Throughout the night there were a few audio problems, such as the mics not being loud enough, the sub-woofer issues, but everyone still put their all into giving us all a good night of music - and they succeeded.

Reviews: Isolert, Silvernite, Edouarth, Ventirati (Reviews By Matt Bladen)

Isolert - Wounds Of Desolation (Non Serviam Records)

Another Greek black metal band as Isolert release their third album Wounds Of Desolation. It's an intense record of black metal soundscapes where the tremolo picking is thick and fast, both guitarists in unison on tracks such as Where Dreams Die that adds melody to the punishing blastbeats and agonising vocals.

Formed in 2015 they have always tried to add melodies to the black metal sound but here the addition of another guitarist has given them a more layered and complex sound, allowing the guitar playing to be more melodic but also more aggressive. A track such as Spewing Venomous Gloom is given a heavy mid-pace chug but lots of leads and solos, while Herald Of Demise is musically similar to Greek extreme legends Rotting Christ.

If you like black metal vicious, raw and badly produced then you'll probably overlook Isolert but for anyone that wants more rounded production, melodic guitar/leads and everything a bit bigger then seek out Wounds Of Desolation. 7/10

Silvernite - Lost City (Self Released)

Fire up the Delorean as we take a trip back to the 80's with synth wave rockers Silvernite. Full of retro nostalgia, this Greek band are a four piece comprising of vocalist MariAngela, guitarist Nash G, synth player Strutter and drummer Minas Chatziminas. So as you can see no bassist as the synths and guitars form the lead instruments, like Bob Katsionis' video game soundtrack album or much of what The Midnight do, even having Artem Zhulyev add some slinky 80's sax on Road To Eternity. 

Silvernite love sci-fi, neon and big anthems that tell a story. Be it the sturdy opener Angel Eyes, the throbbing title track, the pumping Last Stand the industrial thrust of Tafusam's Rage or the poppy Come N Love Me, there's a bit of something for everyone, be it synthwave, AOR or just melodic rock. Silvernite are a unique band, with their hybrid sound that will win them a wide audience. 7/10

Edouarth - Stray Beat (Sleazsy Rider Records)

James Edouarth is the drummer/singer of Greek thrashers Spider Kickers, his bark is evident on this NWOBHM inspired album but here he plays bass, this is because the guitarist and drummer of the band are James' sons, 12 year old George (drums) and 10 year old Peter (guitar), read those ages again, then listen to the album. I can't criticise music played by kids too heavily, as they are kids, however I don't really have to as they are both extremely talented.

NWOBHM is supposed to be reasonably easy, talk to anyone who was around at the time or listen to any of the early records and the genre born out of punk is quite simple, but as it grew got more melodic touches and became more complex. Eduoarth play music inspired by the bands such as Raven, Tokyo Blade, Anvil and Angel Witch, a bit nastier, heavier and rawer than many of the bands that went off on more melodic tangents, Edouarth bring doom and gloom to Dying Inside and Born In A UFO but the majority of this record is entertaining if you're amazed by young talent and like the classic NWOBHM sound. 7/10

Ventirati - Victorian (Sleazy Rider Records)

I saw the words darkwave and psychobilly, hmm, ok let's give it a go. Formed in 2000, before disbanding in 2005 they reunited in 2023 and their newest album is Victorian. That's about all the info I can give you about the band other than the line up of theirs trio contains no drummer just guitar, bass and synths.

The moment you press play there's an instrumental that leading into Book Of Lies, which is a song you could predict from space; jangly guitars, electronic drums and low vocals bringing the sounds of Sisters Of Mercy and The Misson, Myrtale picks up the pace with a rhythm that will be sure to pump out of goth disco stereo's.

Then they add some folk textures to Victorian Night, a dirge to Mad Dog as Fallen is more melodic but keeps the low vocals. It's all pretty standard goth rock but enjoyable enough, if your way to enjoy things is brooding and smoking in the dark. 6/10

A View From The Back Of The Room: Kickin' Valentina (Live Review By Debby Myatt/Photos To Come By Tony Gaskin)

Kickin Valentina, The Midnight Devils and White Tyger KK’s Steel Mill, 30.08.24

We’re back at KK’s this evening for a night of Glam Slam Sleazy Rock!

East Coast Sleaze Rockers Kickin Valentina have brought over touring buddies The Midnight Devils to join them in bringing old school rock and roll to our shores.

First though we have the pleasure of local lads White Tyger (8) to open up proceedings. Having seen these guys a couple of times at smaller local venues we were excited to see how they would perform on a much bigger stage. Well, we weren't disappointed as they owned that stage.

Originally formed nearly a decade ago as a bit of fun playing covers of their favourite 80’s rock bands, they have developed into a fully fledged rock band that would have been right at home next to those heroes of theirs. This is no nostalgia trip, they play heavy riff laden rock anthems full of hooks, that whilst tipping their backward baseball cap to that era, it’s done in a way that seems fresh and modern. Keep an eye out for these guys as they hit the road in the New Year to promote their upcoming album Vanilla Circus. 

From hair metal to full on Glam as a maelstrom of back combed hair and spandex explodes onto the stage in the form of The Midnight Devils (9) Opening up with the thunderously rousing track Sound Of Damnation, a pure glam anthem that lights the touch paper for the rest of the set.

Front man Sam Spade is outrageous in his swagger, a cross between Paul Stanley and Dee Snider, strutting his stuff, glowing in glitter and make-up. I was not lucky enough to catch The New York Dolls, but Spade has somehow captured the essence of that era as he pouts and points at the crowd, throwing glowing devils horns into the mass of sweaty rockers and imitation 69 dollar notes soon followed. 

Drummer, Jimmy Mess is just as chaotic, like a whirling dervish up on the drum riser, but guitarist Sniper manages to pull it all together, unashamedly playing homage to the late, great EVH (they do a great cover of Panama) with his coolness amongst the madness! Somehow, Spade ends up in the middle of the crowd to end the show, resplendent in a feather fringed pink kaftan, a fitting end to a glamtastic show!

From the outrageous to the cool, as sleaze rockers, Kickin Valentina (9) take to the stage. This East Coast gang soon show that they can play and bang out that LA sound along with the best of them. Frontman D. K. Revelle is the epitome of cool, in his mirrored aviators, leather gloves and baseball cap. From the moment they hit the stage, Kickin Valentina wasted no time in delivering a relentless barrage of anthems. 

Revelle commanded the stage with his powerful and gnarly vocals. His energy was infectious, engaging the crowd with his banter and bravado. The majority of the set was formed from tracks from the new album, Star Spangled Fist Fight, with the highlights being Ride Or Die, Man On A Mission and the title track .

Kickin Valentina's show was a high octane roller coasterl ride from beginning to end. Their music is a celebration of rock 'n' roll, and the show was pure, unadulterated fun. If you're a fan of sleaze rock or simply enjoy a good time, Kickin Valentina is a band you don't want to miss.

Reviews: Arild Brøter, A Forest Mighty Black, Dead Daisies, Lusca (Reviews By Mark Young, James Jackson, Rich Piva & Liam Williams)

Arild Brøter - A Spectre Of Sounds (Apollon Records) [Mark Young]

Something a little bit different now, as we take a tumble into the world of 007 with a selection of instrumental arrangements given an update by Arild Brøter. Rather than go down the traditional route of refreshing the main theme song, it’s a deeper dive into the music that underpins key scenes and is offered as a firm labour of love.

A disclaimer: I know I go on about instrumentals, complaining about their inclusion elsewhere and I suppose that my doing a review of an album chock full would seem as if I’d performed a 180. I haven’t, the context is different. And besides, it’s James Bond, and it has probably my favourite piece of Bond music which is the theme from On Her Majesty’s Secret Service, which is given a rather respectful make-over as Suite Part 1. It doesn’t depart from the original arrangement and doesn’t add downtuned guitars but rather there are additional flourishes that are perfectly sat and make it that little bit better. 

I guess there are two ways it could have gone – either respecting the material or going down the crazy route such as the K-Tel disco movie themes that were popular once. I also appreciate that they have tried to update certain themes originally written to ape a particular sound. This is the case in Bond Meets Solitaire (Live and Let Die) which originally was set within the Blaxploitation era now comes across as slightly sleazy as opposed to being a touch cringe.

There are some absolute belters on here, some such as the John Barry Suite had me wracking my brain as to which film they were in originally. There is a real care in how they stitched these different pieces together (Octopussy to The Man With The Golden Gun to Thunderball) and they shouldn’t work together but they do. The electric lead work on this one is spot on, and again it's completely in keeping with the original arrangements. 

Journey To Blofeld’s Hideaway (OHMSS) is glorious and manages to convey both a feeling of joy and a melancholic feel over its length whilst Space Laser Battle (Moonraker) receives a make-over that updates it for a modern audience but could have done with a bit of trimming in all honesty. Each of the themes is recognisable and there is fun to be had in working out which film it has come from. 

Another cracker is Snow Job – Flight Into Space (combining A View To A Kill and Moonraker – did I mention that Moonraker could contain the greatest Bondism? Apart from stabbing that anaconda with his pencil. It has that ‘Bond?! What does he think he is doing? I think he’s attempting re-entry sir….’ Class) which is delivered so well.

And then they drop 007 Theme (Little Nelly Theme), which gets the overdriven guitar treatment and sounds better than the original. Instantly I’m thinking of You Only Live Twice and the gyrocopter battle over Japan. It’s brilliant stuff, probably due to the source material being so familiar and because it’s not Deathcore/Melodeath.

The digital release has 20 tracks on it and the quality doesn’t drop in the execution on each number. They take in Diamonds Are Forever, The Living Daylights before it wraps and these are good, but for me the highlights are the OHMSS / Little Nelly themes which capture the spirit of the originals whilst improving on them and it also highlights just how good the original scores were. 

I would have liked to hear their version of Lulu’s The Man With The Golden Gun, which is just filthy, but you can’t have everything. This should hold a massive appeal to Bond fans, and I think that Arild and the fellow musicians should be proud of what they have done here. It treats the source with respect, its not cheesy and there are some exceptional moments on here. 8/10

A Forest Mighty Black - The Hedonist (Go Down Records) [James Jackson]

Hailing from Italy, this five piece Stoner Rock/Grunge band release their sophomore album this year, following on from the highly praised Chemical/Physical released in 2018, the band cite bands like QOTSA, Soundgarden and Alice in Chains as influences and as a “sounds like”, from listening to the album I’d throw Black Stone Cherry in there too, certainly not for the Southern tinge that BSC carry but there’s a similar tone and swagger to that featured on The Hedonist.

Lyrically the content covers such existential themes as human nature, the essence of Good and Evil within our society and personal daily lives, what truly comes across however is not the lyrics but the way in which they’re delivered by vocalist Costin Bursoc whose style very much fits in with the Stoner/Grunge style.

Each track upon The Hedonist delivers a powerful sound, utilising tempo changes to create a diverse atmosphere, a balance between the more laid back riffs of Stoner and the angst driven sound of Grunge, gives the songs a sense of motion, so often a track can stall for not having the insight of breaking the boundaries of the chosen genre but here the songwriting is more creative and the songs better for it.

For genres and influences that I generally don’t bother with, this album has been a pleasure to listen to and I know that I’ll be playing it again in the near future. 8/10

Dead Daisies - Light 'Em Up (The Dead Daises PTY LTD/SPV)

The Dead Daisies have a new album. This statement will create excitement for some and a big meh for others. I can go either way with their material, but the new one from this version ever changing and rotating lineup band, Light ‘Em Up, is pretty good. This version of the Daisies is lead by the now returning vocalist John Corabi and the guitar work of Doug Aldrich who has been with the band since 2016. 

If you know anything about the two guys I mentioned you will also know what the new record sounds like; straight ahead, sometime generic, other times killer, hard ass rock. Light ‘Em Up is more good than bad. Actually, there is nothing bad. I would say most is good, but maybe not all that memorable overall. This is the problem I have with the Dead Daisies. I like them and enjoy their work, but never go back to the record after the first couple of listens. This one feels like the same thing to me.

Sure, the title track is a fun little hard rock ripper. So is the second track, Times Are Changing. I’m Gonna Ride sounds like The Cult with Motley Crue’s other singer singing and the band definitely would have loved to have been ZZ Top, given songs like Way Back Home and Take A Long Line. I really like the almost grungy Back To Zero. I really could have done without Love That Will Never Be. Overall, the record is fine, it is there. It exists. This is the problem.

There is some really good hard rock on Light ‘Em Up, but once I finish this review, I will never go back to this again. This is the inherent problem I have with the Dead Daisies and the new record does nothing to fix that for me. 6/10 

Lusca - Blood & Promises (MT Records) [Liam Williams]

This 7 track album by German’s Lusca is a fine example of industrial doom metal. It pairs your typical sludgy sounding doom metal riffs with some electronic elements which compliment each other quite well. 

Complimented by a pretty good mix overall there are some parts I feel that the guitars should have been lowered slightly and the bass should have been turned up a notch to let it have a bit more room, especially in the first couple of songs. 

The vocals too are good but could have done with a bit more variation, but that is just a little nit-pick from myself. In relation to the genre the vocals fit well. The drums are programmed well and really help drive the rhythm of the songs.

As for the tracks themselves some of my favourite on the album are Savage Dominion, Marrow and Fractured. In Savage Dominion there are some parts which give me similar sort of vibes as some songs by KMFDM. Marrow, to me, sounds like an ancient machine powering up for the first time in over a 1000 years and I think it would be a good song to use in a horror movie. Fractured is my favourite song in terms of the lyrics and vocals. A brilliant song to end the album on. 

Although I do think the first half of the album is a little bit weaker than the second half, I did enjoy listening to this so much that I had to listen to the entire album a couple of times before I started writing this review. And then once more whilst writing the review. So it’s definitely worth a listen to! 7/10

Reviews: Officium Triste, Curse The Son, Solitary, Castle (Reviews By Mark Young & Rich Piva)

Officium Triste - Hortus Venenum (Transcending Obscurity Record) [Mark Young]

Checking online, Officium Triste came into being back in 1994 and have consistently released music in one shape or another since then. Citing bands such as My Dying Bride, Anathema and Paradise Lost, gives you an indication of the sound and style they are going for. 

However, fair reader, I don’t have that much experience with those bands as this style was not my cup of tea back then, and it has been a gradual exposure to it since I’ve been writing for this site.

Behind Closed Doors, starts with a delicious keyboard arrangement that smacks of classics such as Phantasm, as the guitar and some of the deepest growls come in you are grabbed immediately. They patiently build with a descending pattern that is offset with a melodic line that just fits. It is not flashy it is just effective. 

Pim Blankenstein’s vocals are something else, absolutely prime example of what a death vocal should sound like. My Poison Garden, If you imagine that having found their range on Behind, they take those ideas and twist them around, the chords that they pick are just mint in conveying a dark emotion. Each part is measured so that it naturally follows on. It's heavy too, don’t worry about that and as it wraps, it does so on another quality guitar line.

Anna’s Woe, Well you can kind of guess how this is going to go, and you would be right. It is melancholic, the interplay between the repeating keys and the guitar as the drums carry out an aerial assault and keep the song moving. Just based on Anna’s Woe, it is apparent why they are held in such high regard. 

The closing lead break is spot on, opting for emotive play rather than squeezing a million notes in. It is a song and half, absolutely fantastic stuff and leads us into one of the high points, Walk In Shadows, with its slow beat and expansive keys, that death growl once again is just phenomenal. They manage to build such an all-encompassing atmosphere with consummate ease. The spoken word piece that comes in, that’s done tastefully without affecting the song in any negative way.

The way they have managed to write two songs of a similar length that are both bangers is just incredible. They make them seem shorter than they are, which for me is the mark of great song writing. Forcefield is heavy from the off, there is a fabulous Black Sabbath pedalling riff, think Children Of The Grave before it bursts forward with a strident build, dropping a lead break in, before they pull the handbrake and slow down, ready to close out with a Sci-fi section that has that triumphant measure to it. 

The final minute is them bringing the curtain down, with some note-perfect drumming and then it’s the final track, Angels With Broken Wings. Strings starts this final journey off as they add layers to the sound, expanding it as the guitar and voice comes in, combining to deliver a majestic and haunting song which is probably one of the best closing songs you will hear.

This gentle arrangement suddenly changes gear, possibly aware that they couldn’t sustain a 10-minute track without a touch of the heavy. As quickly as it comes, they push back and refresh the opening moments, revising to add a darker edge to it. The arrangement used for the strings is excellent, and once they add the guitar to it, it becomes a completely different beast. It is an exceptional piece of music, and it is fitting that they left this for last. 

It is the highpoint of highpoints for this album, and I know that I have limited experience of this genre, but what I do know is that right now, this is one of the albums of the year. 9/10

Curse The Son - Delirium (Ripple Music) [Rich Piva]

I was lucky enough to interview Ron Vanacore for my podcast (cheap plug for the Rich & Turbo Heavy Half Hour, listen where you get your favorite podcasts!!!) (I'll let it go this once - Ed) and the main man of the Connecticut band Curse The Son gave me insight to a band that I already love that made me love them even more. Not just because the new record, Delirium, is amazing and probably their best, but because of how thought out the band has been over their 15-year career.

The themes, the lyrics, the album covers, the overall experience, there Is nothing not planned out about Curse The Son, and that kind of attention to detail and to your craft is something to be seriously commended, especially when you are able to build a band that listeners can pick out as the Curse The Son sound. For me as a listener that loose storyline arc or at least continuous vibe across all of the material continues on Delirium, cementing the band as one of the best heavy stoner doom bands around and one of this reviewer’s overall favourites.

Why do I love Delirium so much? As I mentioned, it sounds likes CTS, which right off the bat is a winner. Ron’s trademark voice and guitar tone is there in all of its glory across the nine tracks that all just kill. Ron’s songwriting has stepped up too, keeping the dark vibes ever present but deepening his lyrical content even more.

All you need to do is check out the one-two punch of the opening tracks, This Suffering Is Ours and Deliberate Cruelty (The Extermination Song) to know what I mean. I love all the tempo changes and different riffs you get on both of these tracks. The guitar work is killer too, especially on Deliberate Cruelty. Ron has no qualms about wearing his influences on his sleeve, so it makes perfect sense for the lesser known Witchfinder General track, R.I.P., to standout on Delirium, both as the first single and placed prominently in the running order.

CTS’s take is amazing, making it their own while honouring on of their favourite and most influenced by bands. The perfectly named instrumental Riff Forest is just that; riffs as far as the ear can here, with that trademarked tone, constantly crushing you for just under six minutes. If a riff blasts in the forest, you most certainly can hear it. 

Speaking of riffs, In Dismal Space continues with another killer one until we decent into the doomiest and most plodding track on Delirium, with Ron’s vocal performance on this one maybe his best ever. What a song. The hazy psych instrumental interlude Brain Paint leads into the title track that flat out rules. The riff, the vocals, the lyrics, the tempo changes, this is one of my all-time favourite CTS songs. The closer is no slouch either, as Liste Of The Dead is low end doom here to rattle the windows.

Curse The Son has a plan, and has executed that plan perfectly across the last 15 years and five records, with Delirium being the pinnacle. This record is amazing, and knowing now that Ron has had his son join the band as the new drummer (he did not play on the record) makes this experience even more glorious. It seems strange calling something so dark glorious, but this is what it is; a perfectly dark and wonderful record that should be experience by all who love heavy and dark music. 10/10

Solitary - Embrace The Darkness (Twisted Into Form) [Mark Young]

And now, a touch of UK thrash metal.

As we know, life is a constant cycle, a churn if you will of what is new and exciting before it becomes stale and old. This is especially true of thrash metal and for some you will never get better than the golden years of 83 to 90 (that is my definition of the golden period, other’s may vary). This is the period where the classics were released, the big 4 established themselves as well as others such as Exodus, Testament and Sacred Reich set and refined the blueprint for what Thrash should sound like.

So, having lived through that first phase sometimes anything that comes after feels a little pale. Even some of the bands that are still doing it can have moments of brilliance but run out of steam. But it’s not all doom. There are some bands out there for whom the love of thrash never waned. Bands like Inhuman Nature, Duskwalker, and now Solitary, who have been flying the flag for UK thrash since 1994 and are now entering their third decade and have just decided to drop a corker.

Once the spoken word intro wraps, we are straight into it, Embrace The Darkness writing the mission statement for the songs that follow. It’s got that blend of riffs, chunk and double bass which is essential. Its furious and given that this represents their 3rd decade it feels as fresh as a band who is just starting out on their musical journey. 

There is a zip to it, especially on the frantic Settle Scores The Old Way, its full on and in your face possessing a classic arrangement that could have come straight from the golden era with a delivery to match. It is a love letter to classics, and Solitary have zeroed in on what makes it essential. Bury It Now screams in, 3 and half minutes of pure downpicking goodness including a lead break that can melt faces at 20 yards.

They also know when to dial that speed back, delivering a gut-stomper with Beneath The Surface that shows that they just don’t rely on playing fast, they are equally as comfortable in writing the slower tracks that still capture the essence correctly. Remember earlier I mentioned about energy? There is no let-up in the attack here as they blast through song after song. 

From the incendiary The Disappeared to the absolutely furious Divided And Demented (vinyl only bonus) that possesses that forward stomp and the pre-requisite face melter to the final pairing of Filtering Hindsight and Beat The Bastards (CD only bonus) which only cement this as being a valuable addition to UK thrash. Of the former, it has that classic thrash swing to it which carries it forward whilst the latter has more of a punk vibe to it and acts as a suitable closing track here.

Embrace The Darkness has a lot to offer within its 36-minute run time. It captures the spirit of classic thrash metal and doesn’t let up from start to finish. It has razor-sharp riffs in every song, and top-class drumming that manages to combine speed with keeping the band on point. There are no ballads, orchestral interludes or any wasted moments. Its full bore from start to end and I might as well say that if you are not a fan of thrash then you should look elsewhere. 

It doesn’t break any new ground but does provide you with 30 odd minutes of visceral and thrilling music, which is what you want from a thrash metal release. 8/10

Castle - Evil Remains (Hammerheart Records) [Rich Piva]

As we hit September and head into fall, what’s better than a Pumpkin Spice Latte? How about some spooky and evil proto stoner doom from Castle for the first time since 2018! The San Francisco, California band is back with a worldwide record deal with Hammerheart Records and their follow up to the awesome record Deal Thy Fate, Evil Remains. 

I first heard of Castle via that last record as I obsessed over the Ripple Music back catalog a few years ago, but it has been a while and I thought the band was done, but alas, they are back and possibly better than ever on album number six (yes six!). Some reference points would be bands like Doctor Smoke, Sahg, Early Moods, Wytch, and Witchcryer, but the trio is not some generic proto band with female vocals.

Castle has and still does stand out, and Evil Remains does so even more, as this is their best sounding record with Elizabeth Blackwell’s vocals having never been recorded better. Her and her partner in crime Mat Davis are as tight as ever too, case in point the opener, Queen Of Death, with the killer riff and evil proto vibes combined with the layered male female vocals that just rule. I have been trying to find who Liz and Mat brought in as a drummer but could not find a name, but whoever is playing is doing a great job on these songs.

The next track, Nosferatu Nights, highlights the aforementioned vocals and killer guitar work and may be my favourite track on Evil Remains, especially all the cool tempo changes and that chugging guitar. When the pace slows and the band dooms it up, look out, like they do on Deja Voodoo, lead by Liz’s bass and killer vocals once again. 

The title track has my favourite riff and is where that Witchcryer and Wytch comparisons come across, but I feel like Castle brings it even heavier than those two great bands. Do I even hear a little bit of psych guitar work from Davis on this one? Nice. Black Spell is the real ripper of the bunch and their take on a modern version of some NWOBHM goodness. We get some vocals from, perhaps, Satan maybe, at about the 2:30 mark too.

Chunky proto doom is what it is all about as the album heads towards finish, with the very cool 100 Eyes that once again gives Davis his platform to show his killer guitar work and She (not a Kiss or Kitsa cover) that is Blackwell’s time to shine, and I especially love how the male vocals are woven into the song towards the end. The closer is killer too, the very evil Cold Grave. 

I am not ready to say the eight tracks on Evil Remains is the best work Castle has ever done, but it is right up there with the rest of their great discography. This is the best sounding record of the bunch and the under 40-minute run time is a perfect listening experience. Castle is back, and let’s hope Evil Remains is their announcement that they are here to stay. 8/10

Reviews: Pure Reason Revolution, 40 Watt Sun, God Dethroned, Solars (Reviews By Matt Bladen)

Pure Reason Revolution - Coming Up To Consciousness (Inside Out Music) 

Since their reactivation in 2020, Pure Reason Revolution have been pursuing quite a singular sound, it's hard to mentioned the band without mentioning one Mr Steven Wilson as they amalgamation of traditional progressive rock, although, indie and electronic is obvious, as are the similarities in the vocals. Many would say if you're going to copy anyone copy from the best but PRR aren't copyists, formed in 2003, they have been trying to transcend what 'prog rock' is since their beginnings inspired just as much by Pink Floyd and Porcupine Tree as they are Chemical Brothers or Kraftwerk. 

On this sixth studio album , their third since coming back from hiatus Jon Courtney and Greg Jong talked about bringing in influences such as Talk Talk (another SW favourite) The Smile/Radiohead and ever Arctic Monkeys, bolstering those alt/indie rock credentials I mentioned earlier. Of course there's still plenty of Pink Floyd witnessed by guest bass from Guy Pratt, Porcupine Tree, accentuated by the Rhodes/Piano of Soulsplitter's Lewin Krumpschmid and Pineapple Thief; Bruce Soord and Jon Sykes adding some guitars and bass respectively. So with all this it's almost guaranteed that I like it but I really do think that since 2020's Eupnea they've been at a creative peak.

On this album really doubling down on the bass with the input of Guy Pratt who plays on 7 of the 8 tracks and is joined by Ravi Kesavaram of My Vitriol in the rhythm section as he comes in behind the kit. Another new name in the band for this record alongside Ravi is vocalist Annicke Shireen of Heilung. She has sung with them on their live shows with the blessing of long term singer Chloe Alper who couldn't commit to them due to her schedule. Shireen looks to be a part of the band going forward so it makes sense her voice is used here. Whether it's in harmonic union on the throbbing electronic rocker Dig Till You Die or duetting on Worship she's a very welcome addition to the band, showcasing her brilliant vocals across Coming Up To Consciousness. 

Their sixth album has Pure Reason Revolution still at a creative apex, thrilling progressive music for fans of experimental but straightforward soundscapes. 9/10  

40 Watt Sun - Little Weight (Fisher’s Folly)

The the last 40 Watt Sun album Perfect Light was released in 2022, and I've only just stopped crying. Perfect Light was a much more collaborative and longer recording process so on Little Weight he tried to take things back to the beginning recording under time constraints and in isolation down in Cornwall. What has resulted from these sessions is another six songs of introspective, cathartic, emotive alt rock born out of the doom beginnings of Patrick Walker's time in the legendary Warning, but that has been evolved into post metal and something designated slowcore. 

Walker's vocals are stunning, melancholic and soulful, he delivers every line of a track such as Closer To Life with conviction. His open guitar chords, shimmering melodies and atmospheric wanderings remind me of the band Madrugada or Mark Lanegan solo work, of course the neo-prog influence of Marillion (who's song Emerald Lies; Walker took the name from). It can be both dreamy and dirgey at any given moment lush, soundscapes languish in instrumental wonder as Walker drives into grooves alongside drummer/collaborator Andrew Prestige and bassist Roland Schriver. Inspired by things lost over time Little Weight is another tearjerker from 40 Watt Sun, Walker's voice and the music behind it never fails to move me. 9/10

God Dethroned - The Judas Paradox (Reigning Phoenix Music)

Delivering heavy since 1990, Henri Sattler has led extreme metal heretics God Dethroned through turmoil. Unhappy with labels and band members, they spilt in 1993, then in 2012, but since 2014, God Dethroned has been Sattler and a revolving door of musicians from that point and The Judas Paradox is their 12th album. It's their first for Reigning Phoenix Music but like the previous 11 albums lyrically it's inspired by mythology, the pre-Christian era, Judas, secrets of the Vatican, tarot and demons, so all the greatest hits of the extreme metal then. 

Straddling black/death/doom and everything in between. The title track for instance is gothic, cult doom, The Hanged Man technical death metal while Rat Kingdom is black metal ferocity. Just these three tracks alone showcase the talent and experience of God Dethroned, Henri Sattler's down picked rhythm riffs, chain gun percussion of Frank Schilperoort and driving bass of Jeroen Pomper, lock down the brutality of Asmodeus, as Kashmir Princess goes a bit prog, taking in some synth as Dave Meester shows off that he's not just a shred machine, though the Slayer-like Hailing Death or War Machine may argue otherwise. 

The Judas Paradox continues God Dethroned's 30+ year reign as a revered, ravenous extreme metal band, that is touches every aspect of black/death/thrash music. There may be turbulent past but seemingly a bright future. 8/10

Solars – A Fading Future (Ripcord Records)

Solars debut album begins with snippets from David Attenborough’s speech at the “WWF: A Message To World Leaders at the UN Climate Change Summit”. He talks about the end of the Holoscene (the track name) and how life on this planet is rapidly changing beyond anything we have experienced before. Predicting doom and destruction if action is not taken. This seems to be the overarching theme to A Fading Future, the first full length release from Birmingham instrumentalists Solars, each track deals with another part of daily life that has become damaging and of which the band are critical, but ultimately hopeful about changing.

Be it screen addiction on their chunky, grooving track Doomscrolling, which climaxes in full frontal thrash or the divisions between people on the riffy A Hill To Die On which chugs into psych rock distortion and post metal heaviness. All these issues are delivered by skilful instrumental post rock, where the dreamscapes and electronic ambiance of Ablation are put alongside grooving energy of Inertia, jazzy rhythms, exploring percussive patterns and syncopation, the quartet flex musical muscles easily.

A Fading Future provides a soundtrack to a dystopian but all too real vision for the future, though it's littered with hope that things can change. An absorbing instrumental records. 8/10