May 6th 2014: Cease To Exist is released as the first single from the upcoming album You Can’t Stop Me which was released on July 14 of the same year to both praise and criticism from both fans and critics alike. January 6th 2017: Doris is released as the lead single ti their upcoming Self-Titled release on February 24th of the same year. Both were absolutely panned by fans and critics for being a shoddy rushed release. Fast forward three years, Become The Hunter is one of my most anticipated releases of the year due to all singles being meaty and pure Deathcore. And I can say with complete and utter confidence that this is the album that was needed to get both their focus and reputation as their moniker of the Deathcore kings back and onto the throne.
From start to finish it’s 100% brutal in your face Deathcore, giving off vibes from both The Cleansing and The Black Crown. From the machine gun like drum work of Alex Lopez to the in your face front and centre vocal beatdown of Eddie Hermida the album comes together like glue. It’s like the album they wanted ti write previously, but whether or not they decided against it is untold. It’s full of gutturals, breakdowns and beefy stomach churning riffs that was needed for Suicide Silence to become what they once were, and what they once lost. And there’s no issue that Become The Hunter has safely re-established their place in the scene, genre and all of our hearts. And it’s a comeback album for the fucking history books. 10/10
Blackwater Conspiracy: Two Tails & The Dirty Truth Of Love & Revolution (Bulletproof 20/20 Records) [Matt Bladen]
The follow up to their 2017 debut album Shootin' The Breeze, Two Tails & The Dirty Truth Of Love & Revolution is a record that has been shaped on the road by the hard touring Irish rockers. It's a bit of mouthful but manages to capture the spirit of Phil Conalane (vocals/guitar) and Brian Mallon (lead guitar) knack of Gaelic storytelling, all of which tell tales of rock n roll excess. As I've probably mentioned before Mallon and Conalane formed this band after the break up of Million Dollar Reload taking in influences such as CCR and The Faces, to craft rock tracks born out of the blues but siphoned through country, folk and Americana. So what about the second album? Well it sticks to it's guns with some good time blue collar rock n roll, led by the excellent vocals of Phil, who locks in with Kie McMurray (bass) and Fionn O`hAgain (drums) to bring the guts to the rockier tracks on this record such as the opening Goodbye To Yesterday which is pure Quireboys/Faces boogie with Mallon's guitar and Kevy Brennan's keys trading off.
Brennan left the band last year before the release of this record however his indelible mark is all over it especially on In Another Lifetime and bubbling finale of Atlanta Smile. This is sound of a band now at peace, more comfortable with the style they have chosen, honed by live performances it's BC at full flight. With the rocking Soul Revolutionaries they pump out the power while Tattooed & Blonde brings a nod to the The Stones, Take It On The Chin has some nifty slide guitar, Just Like A Silhouette has some parping brass adding funk to the record. Great hard rock that never strays far from the roots of the genre. 8/10
Seven Spires: Emerald Seas (Frontiers Records) [Matt Bladen]
The sophomore album from Berklee College Of Music Graduates Seven Spires is their first for Frontiers records who are broadening their horizons into the metal genre. They've jumped onto an incredibly talented act here in Seven Spires, fronted by the excellent vocals of Adrienne Cowan who most recently can be heard fronting Sascha Paeth’s Masters Of Ceremony from last year and as a touring vocalists of Avantasia. These appearances give you somewhat of an idea about what style this album takes; cinematic symphonic metal that also has some down-tuned progressively-tinged metal.
Tracks like No Words Exchanged are romantic melodic metal with swathes of keys from Cowan set against the folkier sounds and heavy metal riffage, in fact there is quite a lot of power metal tendencies to this record as the dramatic battery Every Crest and mountain top bardry of Unmapped Darkness often give way to the nasty growls and furious double kicking, which on Drowner Of Worlds does make them veer into Amon Amarth territory. Now this next sentence may seem like a criticism but it isn't.
I could class Emerald Seas as 'Disney-metal' it's like Frozen but with double kicks, a searing mixture of fantasy story-telling, unbridled romance, musical theatre and bouncy power metal which often moves into the ostentatious. Emerald Seas is a joyous metal album from this very musically talented American band, definitely for fans of Avantasia and any Sascha Paeth/Miro produced project. 7/10
Eulogy: Memento Mori (Self Released) [Paul Hutchings]
At last, the new EP from South Wales hard rockers Eulogy has arrived and it’s worth the wait. One of the hardest working bands on the scene, favourites at many of the classic rock haunts, Eulogy’s style crossed boundaries, enjoyed by those whose tastes may favour the heavier side of things whilst those who love the band’s crisp, solidly performed original compositions revel in their approach. The more eagle eyed (eared?) will notice that two of the four tracks included on this EP have been around in single format previously, but they have been re-tracked with Mike Williams adding some welcome more depth on the guitars. The EP’s title Memento Mori (Death Is Inevitable) describes the theme that runs through the four tracks, some with personal relevance to members of the band.
Opening track Cross To Bare, a song about losing someone close and dealing with loss is a powerful opener, driven hard by the thumping drums of Darran Goodwin, Neil Thomas’ superb vocals as always impressing whilst Williams’ playing includes a blistering lead break. You’ll Die Alone drips with melody, Thomas adding a melancholic edge to a track which focuses on the consequences of treating someone badly. Whilst the subject matter is dark, the song allows Eulogy to demonstrate their lighter side musically, but with a underlying steel which runs throughout the track.
Corvid changes tempo completely, a snarling, nasty edged fist pumper of a song, dealing with the moment before death when your soul is taken. The menacing feel matches the subject matter perfectly, Thomas adjusting his vocals to a lower level, sinister and malevolent. The middle section drifts into Maiden territory (no criticism at all mind), a brief interlude before the song gallops away. Once more, the melody is sublime, whilst the playing is outstanding, the rhythm section knitted tightly allowing Williams to fluidly open the fretwork. The final track is probably the most well-known song of the band, a song of hope, Blood Red Skies always goes down a storm live. Williams revisions to the guitar parts have provided a more muscular feel to the song, and it feels fresh and vibrant with this rewire. This is a welcome EP, nicely produced and a timely reminder of their quality. Still looking for a guitarist, this release should help with their search. 8/10
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