Released digitally as part of the response to the Covid 19 pandemic, Born To Thrash captures Destruction in typically robust form. We’ve reviewed them many times here. What you see and hear is what you get. Schimer and Mike Sifringer have been pulling the strings on one of the seminal Teutonic thrash outfits for nearly 40 years and they remain as ferocious as ever. Born To Thrash was recorded at the Partysan Festival in Germany in 2019, on the same weekend they released their latest studio album Born To Perish (see review of that album here: http://musipediaofmetal.blogspot.com/2019/08/reviews-destruction-unruly-child-david.html)
It’s 53 minutes of solid thrash and with a back catalogue that they have, it’s almost impossible to pick a set list. Of course, some tracks pick themselves and unsurprisingly the bulk of this festival set comprises classics. Bursting out of the gates with the bludgeoning Curse The Gods and the heretic anthem Nailed To The Cross, the four-piece were clearly on fine form. A decent quality production gives the band a cutting edge, and the new tracks from Born To Perish sit comfortably next to their more seasoned leather worn colleagues. No Destruction live show is complete without the closing duo of Thrash Till Death and Bestial Invasion and this show is no different. Destruction keeps on rolling. Their thrash continues to be totally enjoyable. The CD and vinyl versions arrive in July but until then get your live thrash fix with this beast. 7/10
Naglfar: Cerecloth (Century Media Records) [Paul Scoble]
Naglfar have been making music since 1992, in that time the Swedes have made 6 albums with Cerecloth being the 7th. Cerecloth comes 8 years after the last Naglfar album Téras. The band have had several different lineups over the years, the current lineup features Kristoffer W. Olivius on Vocals, Marcus E. Norman on Guitar and Andreas Nilsson also on Guitar. The style of Black metal that Naglfar do is instantly recognisable as Swedish, the style that is aggressive and orthodox, but at the same time has loads of melody and tunefulness. Most people associate this sound to Dissection or Watain, but as Naglfar have been making music since 1992, maybe we should refer to Watain sounding like Naglfar. The album is packed with melodic and tuneful Black Metal, blasting tremolo picked riffs, blast beats and some very impressive melody leads. The opening title track Cerecloth is a case in point. Very fast tremolo picked riffs, and blast beats, but with a very tuneful melody lead over the top. The vocals are harsh throughout the album, and work very well. Although there is a pleasing level of savagery the melodic leads that go over the top of the riffs helps to temper the extremeness, creating a track that is tuneful and melodic, whilst also being brutal and vicious.
Naglfar: Cerecloth (Century Media Records) [Paul Scoble]
Naglfar have been making music since 1992, in that time the Swedes have made 6 albums with Cerecloth being the 7th. Cerecloth comes 8 years after the last Naglfar album Téras. The band have had several different lineups over the years, the current lineup features Kristoffer W. Olivius on Vocals, Marcus E. Norman on Guitar and Andreas Nilsson also on Guitar. The style of Black metal that Naglfar do is instantly recognisable as Swedish, the style that is aggressive and orthodox, but at the same time has loads of melody and tunefulness. Most people associate this sound to Dissection or Watain, but as Naglfar have been making music since 1992, maybe we should refer to Watain sounding like Naglfar. The album is packed with melodic and tuneful Black Metal, blasting tremolo picked riffs, blast beats and some very impressive melody leads. The opening title track Cerecloth is a case in point. Very fast tremolo picked riffs, and blast beats, but with a very tuneful melody lead over the top. The vocals are harsh throughout the album, and work very well. Although there is a pleasing level of savagery the melodic leads that go over the top of the riffs helps to temper the extremeness, creating a track that is tuneful and melodic, whilst also being brutal and vicious.
Naglfar can also use this tunefulness in the tracks that aren’t as brutal, and the result is some beautifully melodic and enjoyable Black metal that is (and I hope the band do not dislike this description too much) catchy, and hook laden. The Dagger In Creation is a very good example of this, fast and melodic with some fantastic harmonies, and a very tuneful lead. Another track that has this feel is the final track Last Breath Of Yggdrasil which is brilliantly mellifluous, and deeply enjoyable. This album also boasts some very impressive and powerful slower numbers. Like Poison For The Soul is slow, but with a swagger that feels a little it Black And Roll, drips with melody and, although it keeps the same tempo, seems to get bigger and bigger as the song progresses. Necronaut is slow and packed with guitar harmonies, that at some points feel quite Iron Maiden in style. The track is slow, but has an unstoppable feel to the pacing, like a runaway bulldozer. Cerecloth is a great piece of tuneful and melodic Black Metal, it’s closest in style to Watain or Dissection, but also reminds me a little of British Black metal band Wode, or German band The Spirit. Every track is packed with melody, whilst at the same time being aggressive and brutal; which is a damn clever trick to pull off. Highly recommended. 8/10
DeVicious: Phase Three (Metalapolis Records) [Matt Bladen]
International rock band DeVicious bring their melodic hard rock sound back for a third album. With members from Germany, Serbia and Spain they have a sound that is based heavily on the chunky riffs and hooky choruses of American 80's FM radio when bands like Journey (Calling My Name) and Bon Jovi ruled the airwaves. DeVicious have nailed their colours to the mast on tracks such as Pouring Rain which is full of traits like the tinkling synths, staccato guitars, explosive soloing and powerful vocals. Speaking of vocals, frontman Antonio Calanna sounds exactly like Tobias Sammet (I mean exactly like him). Now I said there is a American edge to this record but they don't betray their European roots though with the legacy of Treat, Eclipse, H.E.A.T all coming through along with the more modern sounds of Avantasia/Edguy. Slick and polished to within an inch of its life Phase Three is not so different from albums one or two but DeVicious have clearly found a sound and are sticking with it. 6/10
Robert Jon & The Wreck: Last Light On The Highway (Self Released) [Matt Bladen]
I'm not sure what I was expecting from Last Light On The Highway but it's couldn't prepare me for how good this Southern/country rock record actually is. Based out of Orange County, these "follicular proficient troubadours" as they refer to themselves consist of Robert Jon Burrison (lead vocals and guitar) along with his band The Wreck, consisting of Andrew Espantman (drums), Steve Maggiora (keyboards), Henry James (lead guitar) and Warren Murrel (bass) have created a record here that has every nuance of great Southern/Americana bands. There is Allman-like slide playing, some Skynyrd twin leads, Bob Seger balladry and Tom Petty blue collar bluesing along with some classic rock swaggering and all manner of influences from ELO, through Floyd into Steely Dan on the suitably epic closing double whammy of the two part title track which is packed with strings and hard rock bravado.
This track is about far way as you get from the down home opening Oh Carolina and the bluesy Work It Out on which has Bob Seger vibes from the boogie woogie piano and big band sound that also reminds me of Nathaniel Rateliff due to the parping brass from the 504 Horns. RJ&TW are a band on the rise having already performed and supported artist such as Joe Bonamassa, Buddy Guy, Rival Sons, The Cadillac Three, Black Stone Cherry and Devon Allman, so they are clearly being tipped for big things and on the evidence of Last Light On The Highway you can hear why. From the Allman worship of Can't Stand It, through to the emotion of This Time Around and the big riffs on Don't Let Me Go a song that has whiff of Blackberry Smoke to it. As I said at the beginning of the review Last Light On The Highway is a fabulous slice of country blues rocking from these Southern Cali natives, audio sunshine best enjoyed with bottle of Jack and a fire roaring. 8/10
DeVicious: Phase Three (Metalapolis Records) [Matt Bladen]
International rock band DeVicious bring their melodic hard rock sound back for a third album. With members from Germany, Serbia and Spain they have a sound that is based heavily on the chunky riffs and hooky choruses of American 80's FM radio when bands like Journey (Calling My Name) and Bon Jovi ruled the airwaves. DeVicious have nailed their colours to the mast on tracks such as Pouring Rain which is full of traits like the tinkling synths, staccato guitars, explosive soloing and powerful vocals. Speaking of vocals, frontman Antonio Calanna sounds exactly like Tobias Sammet (I mean exactly like him). Now I said there is a American edge to this record but they don't betray their European roots though with the legacy of Treat, Eclipse, H.E.A.T all coming through along with the more modern sounds of Avantasia/Edguy. Slick and polished to within an inch of its life Phase Three is not so different from albums one or two but DeVicious have clearly found a sound and are sticking with it. 6/10
Robert Jon & The Wreck: Last Light On The Highway (Self Released) [Matt Bladen]
I'm not sure what I was expecting from Last Light On The Highway but it's couldn't prepare me for how good this Southern/country rock record actually is. Based out of Orange County, these "follicular proficient troubadours" as they refer to themselves consist of Robert Jon Burrison (lead vocals and guitar) along with his band The Wreck, consisting of Andrew Espantman (drums), Steve Maggiora (keyboards), Henry James (lead guitar) and Warren Murrel (bass) have created a record here that has every nuance of great Southern/Americana bands. There is Allman-like slide playing, some Skynyrd twin leads, Bob Seger balladry and Tom Petty blue collar bluesing along with some classic rock swaggering and all manner of influences from ELO, through Floyd into Steely Dan on the suitably epic closing double whammy of the two part title track which is packed with strings and hard rock bravado.
This track is about far way as you get from the down home opening Oh Carolina and the bluesy Work It Out on which has Bob Seger vibes from the boogie woogie piano and big band sound that also reminds me of Nathaniel Rateliff due to the parping brass from the 504 Horns. RJ&TW are a band on the rise having already performed and supported artist such as Joe Bonamassa, Buddy Guy, Rival Sons, The Cadillac Three, Black Stone Cherry and Devon Allman, so they are clearly being tipped for big things and on the evidence of Last Light On The Highway you can hear why. From the Allman worship of Can't Stand It, through to the emotion of This Time Around and the big riffs on Don't Let Me Go a song that has whiff of Blackberry Smoke to it. As I said at the beginning of the review Last Light On The Highway is a fabulous slice of country blues rocking from these Southern Cali natives, audio sunshine best enjoyed with bottle of Jack and a fire roaring. 8/10
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