Reviews: Six By Six, Party Cannon, Halberd, Dead Mob (Reviews By Matt Bladen, Charlie Rogers, Paul Hutchings & Tony Gaskin)

Six By Six - Beyond Shadowland (Inside Out Music) [Matt Bladen]

For what can be considered to be a supergroup, following up a debut record is crucial. It stops talk of being the next Blind Faith and gives the project longevity rather than just being a self indulgence for those involved, it's also imperative that the album is good proving that lightning can strike twice and that the band work well together with a shorter writing time than a debut allows. 

Off the back of their 2022 debut Six By Six manage to put to rest any one hit wonder talk with Beyond Shadowland. This prog rock trio have adopted a bit more fuzz to the guitars, but without any of the melodic flourishes that endured the listening public to the debut. 

The Arms Of A Word brings both these sides very well, Saga's Ian Crichton, flexing his six string wizardry that has seen him holding down the riffs for Saga since 1977. If you know nothing about the Canadian AOR/Pop/Prog band then by listening to them you'll understand why Six By Six sound the way they do. 

His acoustic playing is delicate on Obiliex and Only You Can Decide, while he manages to rock up on Titans, Spectre and Wren. Up front there's Robert Berry, playing virtuoso bass and keys, he also sings, part Geddy Lee, part Greg Lake and part John Wetton, having paid dues in countless bands notably 3 alongside Emerson and Palmer. 

His vocals are soulful and distinctly American, but his bass and keys coming from English prog heritage. Alongside his grooving bass are the drums of Saxon powerhouse Nigel Glockler, playing a broader style than he does with the NWOBHM veterans. Six By Six then is three top level players and friends jamming together to make music that shares history with their other projects. It's very slick, technically gifted but brings songs that are radio friendly. 

Like Asia, Saga or Yes (Rabin/Kaye era), it's Californian sheen, Canadian mastery and British muscle wrapped up in a solid second album and the promise of shows to come. 8/10

Party Cannon - Injuries Are Inevitable (Unique Leader Records) [Charlie Rogers]

Scotland’s Party Slammers third record is a concept album concerning the rather concerning American theme park Action Park. Not your usual subject matter for an extreme metal record, but it is entirely on brand for a band that walks the tightrope between dead-serious and absurd. 

The idea was pitched to the band by their resident drum abuser Martin Gazur, having recently watched a documentary on the infamous watering hole. Maybe we should listen to drummers now and again, because the outcome of this suggestion is an album that’s both witty and crushingly heavy.

Relatively light on samples compared to the genre as a whole (which is very much welcomed), Injuries Are Inevitable focuses on catchy riffs peppered with forehead wrinkling breakdowns. Inhuman vocals - a mix of gurgles, barking, and roars - lay as a layer of grime atop the rich, dense melodic content, regimented by Gazur’s blisteringly fast percussion. 

The songs show a high level of technical ability as well as restraint with when to use certain elements common in Slam and the like, as mentioned earlier. Resisting the urge to litter the album with too many over the top breakdowns, self indulgent solo wankery, or extended ambience makes the album far more approachable for the average listener than a lot of Brutal Death out there. 

That’s not to say it’s any less heavy, because it’s the densest record I’ve heard all year so far, but rather that you can dish out dangerous amounts of weight without it becoming dull - Party Cannon are evidently writing the textbook on how to achieve this.

Cannonball Loop is a highlight for me, with the number of harmonics played nearly matching the number of regular notes, and a truly out-there solo section, demonstrates their high instrument proficiency at the same time as being an absolute belter. I also enjoyed the little nod to Municipal Waste during Layne Staley Went Down The Slip ‘N’ Slide. Cheeky moments like that in music balance on a knife's edge between ripping someone off and people missing the reference, but this was executed perfectly.

Production is clear and clean, with nothing being left to guesswork by the listener aside from the lyrics. The guitar tones are gloriously crunchy, Chris’ bass tone sounds like he’s playing with suspension bridge cables, and the drum sound is dynamic and on-point. With Ingested having moved towards a more deathcore sound, is it time to crown Party Cannon the new Slam Kings of the UK? 

Staying on brand for the IQ lowering riffs, crushingly heavy sections, and semi-silly subject material, it’s hard to argue that Party Cannon aren’t one of the best in the business with this album. Album and merch sales are inevitable. 9/10

Halberd – Drinks All Round (Self Released) [Paul Hutchings]

London Thrashers Halberd’s new EP Drinks All Round is the result of a disastrous technical hitch which saw all their files for their planned full-length release wiped into the land of non-recovery. So, undeterred, and whilst sat in the pub consoling themselves, they decided that there was only one option. Blast out a short sharp EP which plugs the gap.

The result is a savage, at times ragged four-track release that shows in part why they are a key outfit in the London metal scene. Each song varies in style although the thrash elements are never far away. A low budget affair, the title track is under a minute long and flies by so quickly it’s possible to miss it completely. Opener Cyanide is a heartier and heavier affair, whilst Shadows In The Night switches pace and provides a visceral sound.

That leaves the full-on power of TFBN, with some classic Bay Area riffage that soon gets the head nodding. The vocals are an acquired taste but fit the chunky groove. With Halberd pushing hard for a place at Bloodstock via the M2TM route, this is ideally timed. For fans of unrefined thrash metal, Drinks All Round is one for your ears. 7/10

Dead Mob - The Brutal Betrayal (Self Released) [Tony Gaskin]

The Brutal Betrayal is the latest EP from Birmingham post hardcore band Dead Mob. It sees the band taking a huge step forward in their development with an EP that firmly establishes them as a force to be reckoned with. 

Established in 2017, the band have evolved from a young band experimenting with a punk/metal crossover sound that quickly gained them a following on the local scene. The dreaded C lockdowns interrupted their progression, but with a couple of line up changes they’ve emerged as a tight, energetic and mature band that looks and sounds like the finished product. Five tracks of palpable intensity that grab you by the balls from the get go. 

Opening track Seen Enough builds the tension with its chugging riffs, whilst title track The Brutal Betrayal reins us back in a bit, not wanting us to peak too soon. Then BOOM! Just when you think you’re in for a doomy groove laden session, third track Lies Untold smacks us like a metaphorical spinning kick to the head. Particularly impressed with the drums (Rob Colledge) and guitars (Tommy Smith) on this track, probably my personal favourite. 

Where Lies Untold impresses with the drums and guitar, Same Shit shines with the vocal dexterity of Joseph Hanna and keeps the pace and intensity going. Finally we get Sacrifice another chugger, which kicks off with the drums, like a call to arms. This track is more anthemic and laden with breakdowns. All in all a slick and well crafted release that should firmly put this young outfit on the radar of gig bookers across the country. I’m extremely excited to get to hear these tracks live, it will be brutal 9/10