Featuring Ash Cotterill (guitars) and Bill Richmond (bass) of Pemphigoid, former Ashen Crown drummer Chris McGrath, Memoriam/Massacre guitarist Scott Fairfax along with vocalist Jay Price, As The World Dies is the latest entry into the burgeoning British death metal scene. Now this is the live line up of the band but on record there are a multitude of musicians making a mark on Agonist. More on that later. As The World Dies draw from bands such as Bolt Thrower, Benediction and Cancer, but also carve their own path, with their use of twisting otherworldly synths and atmospherics to conjure dark soundscapes.
The swells on Until You’ve Bled, being particularly effective. Now of course underneath these more cinematic moments there is some seriously impressive OSDM. Cotterill and Fairfax’s guitar playing raw and vicious but built around progressive time changes driven by the unrelenting rhythms of Richmond and McGrath. Jay Price has a growl that often feels more like he’s in a hardcore or deathcore band, but then there is a modernity that runs through this debut record.
He’s aided by three legends of the scene behind the mic as Dave Ingram (Benediction), Kam Lee (Massacre) and Karl Willetts (Memoriam/Bolt Thrower) all lend their voices as do several more guests, meaning that As The World Dies is something of a death metal showcase. With the guests both writing and performing, giving each song it's own individuality within the remit of being OSDM. Thankfully even with guest writers and performers, Agonist feels like a coherent record, fiercely modern death metal with an old school ethos. |Recommended. 8/10
FM – Thirteen (Frontiers Music Srl)
Somethings in life are just comforting; a blanket on a warm night, a cup of tea and toast, tomato soup and FM albums. The slick, polished AOR of Steve Overland and co has been something you can always bet on to be a damn fine listen, while never shifting away from the style of music they have always been known for. Even after a hiatus’ their 2010 record Metropolis made everyone fall in love again, Overland’s blue-eyed soul vocal and the hip shaking rhythms of Merv Goldsworthy (bass), Pete Jupp (drums).
Somethings in life are just comforting; a blanket on a warm night, a cup of tea and toast, tomato soup and FM albums. The slick, polished AOR of Steve Overland and co has been something you can always bet on to be a damn fine listen, while never shifting away from the style of music they have always been known for. Even after a hiatus’ their 2010 record Metropolis made everyone fall in love again, Overland’s blue-eyed soul vocal and the hip shaking rhythms of Merv Goldsworthy (bass), Pete Jupp (drums).
The key to their melodic rock menu, with Overland on guitar joined by Jim Kirkpatrick and Jem Davies on keys FM have released five additional albums since 2010, as well as re-releases and live records, so they have managed to keep themselves busy and their fans happy. On Thirteen, their thirteenth studio record, as soon as you press play it’s like putting on your favourite jumper, bristling melodic rock riffs, twinkling keys, lyrics about love sung with soul, as the bluesy base of FM’s sound remains ever-present.
Thirteen studio albums under their belts is quite an achievement, add to that the other records they have and their constant presence on the touring scene, FM are probably at the highest point of their career, and there is something comforting about that. 7/10
On something of a tear as of late, Danish rock vocalist Ronnie Atkins, releases a new album pretty much a year after his last record One Shot. Again the focus is on being as upbeat as possible though of course much of this albums creation and the lyrics are due to Atkins dealing with Stage 4 Cancer. He’s clearly making the most of his time by trying to crate as much as possible, recording this album in a similar way to One Shot laying things down with guitar and piano then Chris Laney (producer/rhythm guitar/keys) and the band recording their parts, this was both due to the pandemic and Atkins’ health.
Make It Count continues where One Shot left off with soaring melodies, anthemic choruses and that all important Atkins vocal. Again this record is a little lighter than other bands he’s been a part of (Pretty Maids), but sticking to that melodic/pop rock feel of bands like Def Leppard, Journey and Bon Jovi. Unsung Heroes and The Tracks We Leave Behind are a bit riffier while Rising Tide and Blood Cries Out go into melodic metal territory, like I said upbeat and anthemic are the words of the day however there’s balladry too where the emotion rings out of Atkins’ gritty vocal Let Love Lead The Way, being the best.
Make It Count features a number of great musicians too to make these ideas come alive including Pontus Egberg (The Poodles/Wolf), Oliver Hartmann (Hartmann) and Pontus Norgren (Hammerfall). More melodic rock mastery from Ronnie Atkins who is making the most of uncertain times with some quality music. 7/10
Voltstorm - Voltstorm (Self Released)
Voltstorm - Voltstorm (Self Released)
Formed by guitarist Fred Stigliano and vocalist John D. Prasec in 2019 with drummer Ivo Yordanov joining shortly afterwards. The London trio have been plying their trade on the toilet circuit throughout the UK, building up a wealth of material, six of their tracks have been put down on this self titled EP. Produced by Alessio Garavello (Power Quest, Freedom Call), Volstorm is highly influenced by bands from the European/UK metal power/traditional sound such as Helloween, Iron Maiden and even early Metallica. Across the six tracks Voltstorm also show that they have a political and social edge to their lyrics.
Kicking off with C.O.D which I did think may be a tribute to the the video game of the same name, however it is much focussed on the actual stresses and worries of a soldier. Backed by Maiden-like rhythm, it's an anthemic opener that leads into the thrashier One Life, though this never sounds aggressive enough to be full on thrash metal. Ivo is a perfect time keeper, not flashy, but like a metronome, Fred gets his chances to show off with guitars, while John has Eric Adams styled lows, though not the range.
Unfortunately The Game kills any momentum they have built up with the weakest track on the EP in my opinion. It's only really with Rebel that they get this back but while Voltstrom are good classic metal band, if they stayed in the faster style they would be a bit more memorable for me as a band, but as I've never seen them play live I can't really say how well these tracks will translate live, though I'm sure No Surrender with it's use of synths will really go down a storm. There's a lot of potential on Voltstorm and as a document of where the band are at the moment it's great to have some way of knowing what to expect at their shows. A decent enough first strike from this London three piece. 6/10
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