Reviews: Whiskey Myers, Sodom, Throes Of Dawn

Whiskey Myers: Mud (Thirty Tigers)

Texans Whiskey Myers broke this side of the pond with their previous record Early Morning Shakes and since then they have been graciously welcomed with open arms by the British rock crowd and press, so much so that their second album Firewater was re-released for the British market, since their last album they have supported Cadillac Three on their last UK tour as well as supporting other high profile names, nabbing spots at Ramblin Man Fair and going out on their own headline tour of the UK. With all this focus on the Texan band it can be said that their fourth record Mud is anticipated  and it does live up to the expectation that is certainly surrounding it. Mud is another album crammed with the kind of Country/Southern rock not heard since the likes of Lynyrd Skynyrd, The Allman Brothers,The Marshall Tucker Band, The Doobie Brothers and even The Eagles were in full flight (no pun intended).

As you can see by these comparisons Whiskey Myers lean more towards the the country rock sound than a lot of their peers (The Cadillac Three and Blackberry Smoke excluded) with bubbling organs, parping brass and fiddles adding to their menagerie of sounds on On This River. The album deals with the trappings of the South too paying homage to it's heroes on Hank (a song about Hank Williams) but also how the south is a state of mind, just listen to the fuzzy, guitar laden Frogman which tells the tale of a Navy SEAL longing for his country home, co-written by ex Black Crowe Rich Robinson or Trailer We Call Home which is the sort of blue-collar storytelling that is both believable and for many sympathetic to.

The writing has improved significantly on this fourth record the band have managed to take the intensity of their live sound and translate it to the record, frontman Cody Cannon's lyrics are are in places affecting and others triumphant and the record sounds like it was recorded live in the studio in as few takes as possible, the seven piece band all bringing their distinctive talents to the album.

Take for instance a song like Stone that builds from a piano-led ballad into a Rossington/Collins-like guitar trade off or the heavy title track which just sounds huge with the rhythm section punching hard, these tracks are counterpointed by the smooth Some Of Your Love, the acoustic picking of The Good Ole Days and Lightning, Bugs And Rain which is funky, folky and flirty, however every song just fits and they are deep in the rich vein of the country rock tradition all of the songs clearly display the breadth of sounds within that tradition. Mud is the culmination of a long game for Whiskey Myers and sets them up for bigger things to come. 8/10    

Sodom: Decision Day (SPV) [Review By Paul]

There’s not much to really say about Sodom. Since their formation in 1981, the German thrash machine has continued to grind out high quality no-nonsense metal which does exactly what it says on the tin. Decision Day leaves little to the imagination, 50 minutes of pounding heavy metal which switches speed but little else. Strange Lost World is more traditional heavy metal with crushing riffs and Tom Angelripper’s gritty vocal delivery grabbing you by the throat whilst the more aggressive thrash assault of Rolling Thunder and the uncomfortably titled Vaginal Born Evil leave little to the imagination. Originators of the genre, Sodom are often and rightly talked about as part of the big three in Germany, alongside the might of Kreator and Destruction. Whilst the Bay Area took much of the limelight, it’s pleasing to see and hear the real old school still kicking the shit out of everything with full force. Get Decision Day. Bang your head. Classic. 8/10

Throes Of Dawn: Our Voices Shall Remain (Argonauta Records)

Dark progressive metal band formed by Henri (vocals) and Jani (synths) the mixture of guitars and synths are the major part of TOD's interesting and engaging sound. Obviously the band are not the happiest of chaps as their music is mornful, baleful and at times downright depressing (One Of Us Is Missing) but at the same time the album is imbued with captivating beauty that has the classic sound of Pink Floyd with the guitar playing packing an emotive punch that is increased when coupled with the layers of keys to really hit you in the heart and the guts.

From the repetitive riff of Mezmerized you can clearly hear that TOD have a sonic connection to Anathema and Crippled Black Phoenix as they rely on every instrument coming together to create a soundscape rather than focusing on flights of fancy, that's not to say there aren't any solos though, far from it there are incredible solos throughout but they are there to enhance the music. Take a song like The Understanding which is one of the darker heavier songs but it's peppered with melodic solo lines from Juha's spellbinding lead guitar. Atmosphere is paramount to this band Jani's synths and chunky rhythm guitars work well with Henri's keys to create a mood that Harri and Juusos rhythm section expand upon as frontman Henri's vocals are used as another form of moving expression. All are at there most powerful on final song The Black Wreath Of Mind.

Not since Distant Satellites or Hand Cannot Erase have I been so drawn in by an album, there is a lot going on in this record which brings you back to it for repeated listens allowing the record to grow and release more it's delights with every listen. Yes it's a miserable record but it's beautiful in its misery and that makes it a sure fire contender for my album of the year list. 9/10

Reviews: Bewitcher, Outright Resistance, Odin's Beard

Bewitcher: S/T (Heretic Fire Records) [Review By Paul]

Blackened speed metal. Yes, we all love a bit of this at MoM towers. Welcome not to hell but to Bewitcher, a three piece outfit from Portland, Oregon whose self-titled album leaves nothing to the faint hearted. With the ridiculously named, wait for it, Unholy Weaver of Shadows and Incantations on guitar and vocals, Infernal Magus of Nocturnal Alchemy pounding the bass and best of all, introducing Diabolical Crusher of Hallowed Light on demonic drumming, it's hard to take these fuckers seriously. However, if you like Venom, these guys will be right up your street. It’s unsophisticated but quite brilliant 100mph stuff and with tracks like Speed Til You Bleed, Wild Blasphemy and the mighty Harlots of Hell who am I to argue. It’s fast, it's filthy, demonic and satanic with a vocal delivery reminiscent of Cronos circa 1982. Get down to the coven, sacrifice your goat and get into the fires of hell. I love it. Hail Satan. 8/10

Outright Resistance: Me Vs I (Self Released) [Review By Stief]

Having seen these guys at BOA 2016, it was only right we review their second EP Me vs I. Starting with a bit of spoken word, the title track seems to surround both the internal and external struggles involved in bullying, with the voices goading the main person to 'do it, kill 'em'. Thought provoking stuff before the band starts building up to some brutal heavy metal. Every song is oozing with passion and anger, and you can tell the band's no-nonsense, come-at-us attitude is genuine, heavy riffs from Michael "Grandad" Worsley and Joe Jacobs, Chris Everett laying down some chunky bass and Michael "Nelly" O'Neill blasting the drums. However, it is "Captain" Paige Lee's voice that pushes this band from just another heavy metal band to something special. Having witnessed Paige and the band perform live, it's no different on the tracks, and you can tell she is channelling her passion and anger into every syllable. This band are championing positivity, with Prove Them Wrong pushing for everyone to do just that. It's a brilliant message and I think this is just the start of Outright Resistances career. Definitely a band to keep your eye on in the future, here's to a full album soon! 10/10

Odin's Beard: Anaphylaxis (Self released) [Review By Stief]

Odin's beard and the concept of this album were created at BOA 2015, when a group of friends started to chat about how annoying wasps are, and now a year later, we have Anaphylaxis.
With song titles such as Fuck Off Wasp, Float Like A Butterfly, Sting Like A Wasp and Wasp In My Beer, you can kind of guess the underlying theme of this album. On the surface of it, the album is very amateurish, the production is lacking but the band makes up for it in comedy value, and at the end of the day, it's a group of friends dicking about singing about Wasps. Merv and Tina Harris lead the band, but due to the low production value of the album, you don't seem to get the full effect of their voices, and this feeling carries on into the rest of the band's sound. The album encompasses a good chunk of the metal spectrum, with Wasp in My Beer opening with an almost operatic intro, before moving into some great hard rock riffage. Sting Operation with a NWOBHM riff before turning into a punk song. The album is a mixed bag, even dipping into rap with The Blood, The Sweat, The Talc, a beastie boys style song about 'Betty Swollocks'. Overall, it's a great album, and with better production, Odin's beard could make it into my top comedy metal bands. 6/10

Reviews: Running Wild, Twisted Sister, Vicious Rumours (Review By Paul)

Running Wild: Rapid Foray (SPV)

Whilst many of their contemporaries are now grinding to a halt through death, old age or disease, Hamburg’s incredible Running Wild, formed in 1976 show the same longevity that applies to the mighty Maiden, Saxon and the like. With over 18 million sales and a massive following across much of Europe, Running Wild’s 16th album Rapid Foray is just splendid stuff. Although only Rolf Kasparek (Rock N Rolf) remains from the original line up, which I suppose undermines my opening praise, this is as good a speed metal album as I've heard for many a year. Sure it follows the traditional blue print which all the great German bands do, anthemic choruses, colossal riffs and stomping rhythm section but if it ain’t broke, then don't fix it. Opener Black Skies, Red Flag takes no prisoners, whilst Stick To Your Guns sits firmly in the Accept/Saxon ball park. The title track will no doubt induce large amounts of pogoing with its poppy feel and driving guitar.

Rapid Foray is predominantly written and performed by Rolf and guitarist Peter Jordan and the production, also by Kasparek is excellent. With a change of pace on tracks like The Depth Of The Sea (Nautilus) and a magnificent 11 minute closer Last Of The Mohicans this is a superb vintage power metal release that will no doubt be lapped up by their legions of fans. How about a slot at BOA next year please? 8/10 (Bloodstock Under Jolly Roger? I support that! - Ed)

Twisted Sister: Metal Meltdown Live (Loud & Proud)

The first live show after the death of drummer AJ Pero, recorded and filmed at The Joint at The Hard Rock Hotel in Las Vagas, Metal Meltdown is a decent record of the might of Twisted Sister in the live arena. Although you can't match seeing the band in the flesh, the tracks on this 90 minute release really do capture the heaviness that is not always apparent with this historic outfit, who are now drawing their 40+ year career to a close. From opener What You Don't Know to closer S.M.F, Sister go for it on what was clearly a massively emotionally charged evening.

Dee Snider proves his vocal quality on every track whilst the rest of the band including the exceptional drumming of Mike Portnoy are quite blisteringly ferocious. Although Snider delivers identical patter to that recently seen at their final UK show at BOA, the tribute to Pero is heartfelt and moving. What does let him down is some quite awkwardly inappropriate comments to the disabled section. Calling the “handicapped” section “pussies” for not getting down the front? Hmm, even tongue in cheek this makes uncomfortable listening. The production isn't brilliant and the crowd sound smaller and distant at times. Not quite the roar you’d expect. Still, with tracks like Under The Blade and Burn In Hell kicking ass and a stunningly good Come Out And Play you can't really knock it. I'd rather get hold of the set from BOA but in the meantime join the sick mutha fuckers one last time. 7/10

Vicious Rumors: Concussion Protocol (SPV)

In the midst of the maelstrom of thrash and power metal that stormed out of the Bay Area in the early 1980s, San Francisco outfit Vicious Rumors were both prominent and under the radar. Over 35 years later and the band continue to churn out high quality power fuelled metal with Concussion Protocol album number 12. With founder Geoff Thorpe continuing to thrash and shred with the best, this is a solid powerful reminder that, just like Running Wild, the old school often do it best. The stomp of Victim Of A Digital World and the all out assault of Chemical Slave with its Exodus infused attack are just two examples of the quality.

The band comprise Larry Howe on drums, guitarist  Thaen Rasmussen, bassist Tilen Hudrap and the vocal prowess of Nick Hollerman and together with Thorpe they form a tight unit who deliver a quite excellent and vintage 12 track release. Catch the mix of Testament and Overkill on Chasing The Priest or the melodic hook laden Last Of Our Kind, with a riff to lose your mind to. Galloping bass lines introduce the foot stomping Take It Or Leave It which would sit neatly in the Metal Church catalogue, screaming guitar work and Hollerman’s Geoff Tate like screams combined with a more gutteral Udo Dirkschnieder delivery. Piece de resistance is the ten minute powerhouse of Life For A Life which has a filthy riff, Till Lindermann type lyrics and which you can't leave alone. It's that good. Once more the old school, albeit reinforced by some younger members are making a decent groove. Well worth checking out. 8/10

Reviews: Gloryful, Palace, Wretch

Gloryful: End Of The Night (Massacre)

German power metal group Gloryful have returned with the third album in their series of records charting the ongoing war between the characters introduced on their debut, it's the concept revolving around the Ocean Goddess Sedna and King Guerkin who leads the fight against her. However much like their two previous records you don't need to follow the thematic story of the record to enjoy it, this is modern power metal that sits in the same category as Orden Ogan or Powerwolf (who's Charles Greywolf takes the producer chair) they have powerful battle metal anthems such as Hail To The King and For Victory that come in quick succession but they also add the folk elements of countrymen Blind Guardian on End Of The Night which swaps the dual electrics for acoustics, mandolin and violin.

The band are great musicians the rhythm section of Daniel Pearl and Harmut Stoof rumble along with the pre-requisite power metal pace, flailing drumming and punching basslines are the norm on this record. While the guitars of Jens Basten and new boy Adrian Eric Weiss weave in and out in dual axe attack with solos galore but without the normal fret wankery that can infect the genre, it's all done with precision and to advance the song not detract from it.

This is high class power metal as I've said with particular focus being drawn by frontman Jonny La Bomba who has a unique vocal delivery that sets him apart in the genre on songs like the progressive On Fire and blazing This Means War his throaty rasp sits well with the music and gives the band a sound that is rare in power metal. End Of The Night continues the tradition of Gloryful producing excellent power metal that puts them near the top of the pile in what they do, it has anthem after anthem and gets your blood and your fists pumping. 9/10      

Palace: Master Of The Universe (Frontiers)

Master Of The Universe is as cheesy as a large Brie, dipped in Stilton and served with a side order of Fondue. For frontman Michael Palace the 80's have clearly never ended as this record evokes the sound of Night Ranger, Bon Jovi, REO Speedwagon, Toto et al looking at the promo shots the band even look the part with stick-like frames, coiffured perms and skin tight trousers about all that's missing are scarves on the mic stands and teeth so shiny they can be seen from space.

On the back of this album though all of that could be in the future as these songs have been written for stadia, Palace himself has been an in-house writer and guitarist for Frontier records for some time working with AOR acts as First Signal, Kryptonite as well as legends such as Toby Hitchcock and Göran Edman of Yngwie Malmsteen and Karmakanic fame. So it's clear to see why this record is chock full of emotive ballads and hard rock anthems, this kind of music comes easy to Palace and his band make sure that the every song is full of big hooks.

The title track sounds like a lost Survivor song with the Tron-style keys and the massive chorus, the use of synths continues throughout the and on the fist pumping Cool Runnin' (not about a Jamaican bobsled team) the saunter in the background whereas on Man Behind The Gun they merge with the double tapped guitar soloing.

None of the song on this record are heavy yes they have guitars and solos but they are clean and much like Brits Def Leppard they are firmly in AOR camp with saccharine ballads such as Part Of Me and Rules Of The Game allowing Palace to show off his vocals matching with the pacier songs for pure bubblegum AOR deliciousness. Many of the heavier readership will loathe this record but if you love your music with a side order of Gouda then Master Of The Universe will definitely not be a Stinking Bishop. 7/10     

Wretch: Wretch (Bad Omen Records)

Wretch was formed in 2013 by front-man/guitarist Karl Simon, out of the ashes of Indianapolis doom merchants The Gates Of Slumber, the band's name comes from the final TGoS record The Wretch. After this last record and the EP in 2013, bassist Jason McCash quit the group, sadly in 2014 McCash passed away Simon has used the debut Wretch record as a cathartic way of dealing with his friends death, Running Out Of Days is dedicated to Simon's lost friend and kicks you in the guts immediately.

Due to the circumstances surrounding the record the doom metal contained on this record is more raw lyrically than usual with the lyrics dealing with loss, addiction and burden hitting home more so than usual as the low and slow riffs bludgeon your ear drums. Simon's guitars maintain the fuzzy, reverbed tone for the entirety of the record as it changes pace between huge power chords and faster riffs, Bryce Clarke's bass aides perfectly slotting in like Simon's fallen comrade did throughout their TGoS tenure, with the riffage sorted the percussion is down to former TGoS drummers Chris Gordon and J.Clyde Paradis (now also sadly deceased) and both of them thunder behind the kit on this 7 track record.

In a marked difference to TGoS the songs on this record are truncated most not more than 5 minutes the only exception being Icebound clocking in as over 8, along with the a Judas Priest cover Winter, (from Rocka Rolla no less) the record also features two instrumentals that do well to break up the record. Wretch serves as a fitting tribute to Jason McCash and as a fierce new beginning for Karl Simon. 8/10      

Reviews: Chris Robinson Brotherhood, Orphaned Land, Armory (Reviews By Paul)

Chris Robinson Brotherhood: Anyway You Love, We Know How You Feel (Silver Arrow Records)

The voice of The Black Crowes. A voice that can make you melt. A voice used as an instrument. I fail to see how you cannot be moved by Chris Robinson’s voice. The acrimonious relationship with brother Rich that led to the final split of the Crowes disappointed many but has led to several albums from Robinson’s Brotherhood. The latest release, Anyway You Love, We Know How You Feel is the first release to be self-produced by the band and the first to feature drummer Tony Leone and bassist Jeff Hill. It’s hell of an album, a fusion of psychedelia, funk, rhythm and blues and rock.

From the haunting emotional Some Gardens Green fine slide guitar through to the Jamiroquai soaked funk of Narcissus Soaking Wet and Ain’t It Hard But Fair, this is an album that stinks of quality from start to finish. Alongside Robinson, Neal Casal continues to provide quality guitar work whilst Adam MacDougall’s synths and keys underpin much of the album’s eight songs. At 46 minutes long it really is good value for money and stunning in its quality. Just grab a glass, sit back and relax to the likes of Oak Apple Day. Brilliant stuff. 8/10

Orphaned Land & Amaseffer: Kna’an (Century Media)

So who do you turn to when you are looking for a soundtrack to match your modern perspective on the biblical tale of Abraham? Orphaned Land lead singer and all round nice guy Kobi Farhi and Amaseffer’s Erez Yohanan seems like a good place to start. With the help of the rest of Orphaned Land, Farhi and Yohanan composed the soundtrack which consists of ballads and more mainstream metal songs about all the characters and inner conflicts of the heroes in this complex episode, a story that still reflects till this day in the three Abrahamic religions.

The first thing to comment on is that Farhi’s voice is as superb as ever, with his ability to soar given full range throughout. Secondly the musicianship is fantastic, such as the classical guitar work on A Tree With No Fruit and the rocking There Is No God For Ishma’el. As one would expect with two bands from Israel who really wave the flag for their country and the Middle East, the regional flavours which make Orphaned Land’s music so unique and appealing are strong throughout.

The quieter ballad type songs probably edge the rockier tunes, with the emotion soaked A Dove Without Wings a stand out tune. The harder edged Akeda is full of atmosphere and Uri Zelcha’s thundering bass lines combine magnificently with the haunting guitar work of Chen Balbus and Idan Amsalam. As soundtracks go, this is as good as you get and taken on face value it’s well worth a listen, especially if you are a fan of either band. 7/10

Armory: World Peace … Cosmic War (High Roller Records)

The resurgence in the 1980s has manifested itself in many ways. Recycled TV, food trends and fashion. I see people walking down the street dressed in exactly the same way a lot of my school colleagues did in 1984. Hideous fashions that were never cool. And as with all other fads, there is a little bit of a wash over to the world of metal. This currently applies to the numerous bands who have fashioned their sound on those early pioneers of the thrash and power metal scene. Which brings me to Hisingen’s Armory, not to be confused with the multiple Armory’s that seem to be around these days.

World Peace…Cosmic War takes you right back to the mid-1980s and the overlap with the formative thrash of Metallica circa Kill Em All, Slayer’s Show No Mercy and the power metal of Priest, Accept, Sacred Reich and Helloween. Throw in the breakdowns of Iron Maiden and Megadeth and you’ve pretty much nailed the sound that Armory make.  So far, so good and musically there is nothing to dislike. It’s fast, it’s frantic, the drumming sounds like Animal from The Muppets is keeping time and there are riffs galore, scorching solos and some decent changes of pace. The stomp of Hell’s Fast Blades and blitzkrieg of High Speed Death are testimony to this. Unfortunately, like many good band, Armory’s sound is defined by the vocals and I’m afraid that Konstapel P’s delivery just isn’t that good.

With a mixture of Tom Araya, King Diamond and Sy Keeler of Onslaught, his shrieks become irritating quite fast. The guttural delivery is fine, and when Konstapel does this I have no complaints. His weaknesses are highlighted on Spinning Towards Doom with a quite bizarre performance. Overall World Peace…Cosmic War is an average thrash release. If you want to use your cash wisely, pick up a release from Reign Of Fury or push it towards the old school and Onslaught. A band that did it right all those years ago. 6/10

Reviews: Twilight Force, DGM, King Company

Twilight Force: Heroes Of Mighty Magic (Nuclear Blast)

Twilight Force hail from Falun Sweden the same town as war crazed mad men Sabaton and if you think Sabaton are a little OTT then stop reading here as this isn't the band for you. Twilight Force's second record ramps up everything heard on the debut to the Nth degree, from the first moments this record is musical Marmite you'll either love it or loathe it.

Personally I love it but it is a bit immense in places with the massive layered orchestral/symphonic ingredients, the warp speed guitar playing, skyscraping vocals and general outrageousness of the record it may put even be too much for hardened power metal fans, still if you love the likes of Avantasia, Rhapsody, Aina and bands of that ilk that play concept heavy fantasy metal you will lap this up as like I said it seems to take everything done before to the next level.

Think Dragonforce and Avantasia writing songs with Hans Zimmer for a fantasy movie made by Disney and that only hints to the sound of this record. The band is made up of Borne on bass, Blackwald on keys, piano, cembalo and violin, De'Azsh on drums (the man must be a robot he drums so fast) Aerendir takes guitar along with Lynd who also has acoustics and lute to contend with while the band is rounded out by Chrileon's glass shattering vocals, he even give Fabio Leone a run for his money when he guests.

Battle Of Arcane Might kicks off at lightning speed with the solo section leading into a orchestral section in quick succession, there is no stopping from there the pace stays at almost lightspeed through Powerwind when Guardian Of The Seas merges the bands Medieval lyricism with backing choirs and more dragons than Alestorm offshoot Gloryhammer, in fact Gloryhammer or Hammerfall on speed would be another good way to describe this band.

Flight Of the Sapphire Dragon is one of the album's most cinematic songs making this writer think of Trans-Siberian Orchestra's classical metal fusion. Over the course of the 12 tracks on this record only really Epilogue gives any respite as it is purely a spoken word song but the rest of the songs are gloriously mad symphonic power metal full of folk elements and Hollywood calibre orchestration, the bouncy Riders Of The Dawn is sure to be a live favourite as is the floaty, cheesy Rise Of Hero which could be Eurovision track it's so stupendously silly while Keepers Of The Fate has a darker edge to the sound.

With most of the songs clocking in at around five minutes, the most epic songs are the title track which is finale of the album and has Sabaton's Joacim guesting on vocals and the sublime and ridiculous There And Back Again which not only takes it's name from Tolkien but has all the drama of the great writer's work, these two songs are worth the price of the record alone. It's overblown, it's absurd, it's at points overwhelming but more than that this record is brilliant, like a B-movie you keep coming back to again and again, it seems like a guilty pleasure but you derive so much pleasure from it that there is no guilt at all. Heroes Of Mighty Magic is incredible, pure joy in audio form. 10/10      

DGM: The Passage (Frontiers)

DGM are an Italian progressive metal band, doing a bit of research I see that they have been around since 1994 and since then they have gone through numerous lineup changes, to the point that the current incarnation has no original members but still they continue to release melodic progressive metal in style of Circus Maximus and Symphony X.

The Passage is their ninth release and it opens with two of the longest tracks on the record meaning that at 15 minutes The Secret starts the record as you'd expect from a progressive band, with twists and turns throughout every instrument getting a workout especially the bass and drums that are key to the time signature changes. With technical proficiency throughout the album DGM show how they have plenty of experience in the prog scene the guitars and keys interact very well the keys especially give the band their emotive power.

As I've said DGM have similarities to Symphony X and also to bands such as Evergrey so much so that both Michael Romeo and Tom S Englund appear on this record, the vocals too are in the vein of Russell Allen with s gritty power to them that add the melodic touch to the songs, it's these elements that stop the band being too complicated and makes the record much easier to digest.

There's metal, rock and even some AOR on this record and the Italian band follow the great tradition of American progressive metal bands with a sturdy heavy rock base layer topped with flourishes of excellence and a keen ear for a huge hook. The Passage is a must buy for fans of Symphony X, Dream Theater and Shadow Gallery! 8/10

King Company: One For The Road (Frontiers)

As the title track starts you'd be forgiven for thinking you were listening to Whitesnake or MkIII Deep Purple and the huge slabs of organ, speedy rock guitars and bluesy vocals certainly give that impression but it's only when you look deeper you see that King Company are a Finnish act made up of members of Thunderstone, Warmen and Kiuas and they have taken a more hard rock based sound much like the primarily German act Voodoo Circle.

The band two main members are ex-Thunderstone drummer Mirka "Leka" Rantanen who has recruited Antti Wirman from Warmen on guitar and the voice of Thunderstone Pasi Rantanen on vocals with Jari Pailamo and Time Schleifer on keys and bass respectively. It's a long way away from the members day jobs in the power metal scene yes there are still the superior guitar and keyboard solos but they are more of the Lord and Blackmore than the bands day jobs.

What I did notice with this record is that Pasi's vocals are more suited to this type of music his rasp fits with the hard rock template as he delivers chest beating bravado on Coming Back To Life, AOR crooning on Wings Of Love and full on heartbreak on Cast Away. One For The Road is meat and potatoes hard rock based on the 80's and 90's traditions of Rainbow, Mr Big and Europe, it's a summer soundtrack fit for BBQ's and Beers, if you've never lost your highlights and penchant for leather trousers then One For The Road will be your soundtrack in those cold winter months. 7/10

Reviews: Welcome Back Delta, Meshiaak, Castle (Review By Paul)

Welcome Back Delta: Sucker (Self Released)

Three years since their debut release Shocker Cheltenham’s Welcome Back Delta’s sophomore release is well worth the wait. Sucker is just over half an hour of blues soaked dirty rock ‘n’ roll in the style of Clutch and Lionize, to name but two. There’s foot tapping stomp of Beast Mode and Snake In The Grass, the sing-a-long Arms Dealer features Damon T and some sweet blues guitar work whilst it’s not surprise that Bison Steed from Reign of Fury pops up on the fabulously raging Dadgerous. Sucker conjures up images of the roof down on the Cadillac, cold one in hand and the open road ahead with your lady in the passenger seat (Something I’ve never felt when I’ve been to Cheltenham but hey, maybe I took the wrong road).

Joe Kelly has the whisky soaked voice ideally suited to their sound; check out Jeremy’s Iron, which shares its no-nonsense approach with the big noise of Northern Ireland’s Trucker Diablo. Rob Duncan’s guitar work is superb whilst the engine room of Phil Davies and Steve Roberts on bass and drums respectively ensure that the foundation is oh so solid. It’s not all balls out rock and the calmer soul filled The Magic Of Flight reminds you of some 1970s greats, with a single guitar riff and some delicious harmonies. The Southern feel of Black Tie would sit well alongside the likes of Atlanta’s Blackberry Smoke and who could fail to raise a smile to the dirty riffs of the innuendo soaked Don’t Hold It Against Me, Unless It Gets Hard? This is a damn fine album which deserves to be heard. Get involved. 9/10

Meshiaak: Alliance Of Thieves (Mascot Records)

I have to admit that I had a massive fondness for Aussie thrashers 4Arm to the extent that I actually pledged for their last album. Of course, by then the band had made appearances at Download and opened for some of the big thrash merchants in the States, including Slayer. However, in 2014  the voice and lead guitar of the band, Danny Camilleri left and 4Arm’s last release didn't quite match their earlier duo of long players.

What is our gain though it the arrival of Meshiaak (apparently Hebrew for ‘messiah’) which features Camilleri alongside one of the best drummers in the thrash scene, Jon Dette who has occupied the seat for Slayer, Testament, Anthrax and Iced Earth to name but four. With extra shred brought to you by Dean Wells and thundering bass lines delivered by Nick Walker, the four piece who come at you out of Melbourne  have served up a very tasty slab of quality thrash metal.

It's not just heads down balls out thrash though. I Am Among You retains the power and drive but has a more complex and intricate feel, soul searching solos giving the track some real heart. The aggression which Camilleri showed with 4Arm remains and his vocal delivery continues to give that Hetfield/Araya combination which really works. Opener Chronicles Of The Dead is area. Statement of intent and Dette’s drumming is just insane. The melody provided by Wells’s backing vocals also adds to the mix. With a dash of early Bullet For My Valentine as well as the more obvious Metallica and Megadeth influences coursing through this beast, tracks such as It Burns Both Ends with a neat oriental flavour and the harmonies of the guitar work on Drowning, Fading, Falling really work and add variety to the all out assault.

This is a solid solid album, well written and excellently performed. At The Edge Of The World utilities some keyboards to provide a Trivium edged track whilst Last Breath Taken really does leave you gasping for air. This is a circle pit anthem which could do some damage given half a chance. Alliance Of Thieves picks up where Submission For Liberty finished. Get some Meshiaak in your life. It's a decision you won't regret. 8/10

Castle Welcome To The Graveyard (Prosthetic)

I have to admit I'd not come across Castle, a powerful. Three piece from San Francisco and Toronto but I'm glad I now have. Welcome To The Graveyard is their fourth full length release, not at all bad for a band that only formed properly in 2009. As the title suggests, Welcome To The Graveyard is heavy on the occult and dark themes, with tracks such as Black Widow and Hammer And The Cross not hiding anything away.

Despite the traditional doom sound of the genre being rather slow and ponderous, Castle really don't sit back and for a three piece they make an excellent sound. Al McCartney’s drum noise is loud and proud, sat somewhere in the 1970s but with a contemporary twist. Mat Davies’s guitar work is excellent and I use the comparison with Tony Iommi as high praise rather than as the standard comparison for all heavy doom outfits. His fret work on Black Widow and Flash Of The Pentagram are just two examples of his quality. Leading it all on vocals and driving bass is Elizabeth Blackwell whose voice is just so suited to Castle’s sound.

Powerful, aggressive and not afraid to really kick out the jams, Castle’s eight track release is a pretty fine piece of work. The magnificent Down In The Cauldron Bog with its atmospheric intro, haunting gothic vocals and crushing riffs is perhaps the pick of the album, but that might just be splitting hairs. It's all damn fine stuff. Get yourself down to the graveyard. You won't be disappointed. 8/10

Reviews: Delain, Chariots Of The Gods, Illustr8ors

Delain: Moonbathers (Napalm)

Since their symphonic metal debut Delain have been refining their sound on each album cutting the fat and adding some nuances to set them apart from the rest of the female fronted pack, for the most part they still play symphonically powered metal but they also add some electronica, lots of Gothic elements and wrap it all up with a dark pop sheen. Moonbathers is the Dutch band's fifth record and sees them consolidate the more experimental sounds from previous records to create a more definitive one, the Gothic sounds on this record come from the lyrical content which seems to have an obsession with death both the haunting Chrysalis - The Last Breath and Danse Macabre both deal with subject although Danse is much more reliant on pulsing electronics than Chrysalis.

The band's sound has always been built upon the keyboard playing of founding member Martijn Westerholt and here for a fifth time he shines never overdoing his contribution but adding enough to flesh out the songs and give them an extra edge whether that be the operatic orchestral elements on cinematic opener Hands Of Gold and the heartrending Turn The Lights Out, a song that Ville Vallo would be proud of, plaintive piano on closing instrumental The Monarch and some shimmering synths on Suckerpunch or with Queen cover Scandal which has just right amount of pastiche and their own sound to work very well, I see this one being added to the live show.

Westerholt is not the only member of the band however the rhythm section of Ruben Israel's drums and the amazingly named Otto Schimmelpenninck van der Oije on bass can shift the sound in an instant from thumping industrial grunt on The Glory And The Scum a bouncy bottom end on Suckerpunch which was the standout track from their taster EP. As the backroom pumps out such powerful sounds it's up to guitarists Timo Somers and Merel Bechtold to provide the riffs and riff they do Bechtold especially bridging the gap between the rhythm section and top end.

Her amazing heads down riffage allows Somers to show flashes of brilliance in his leads on Suckerpunch, the classic metal feeling Fire With Fire and the album's heaviest track Pendulum which borders on thrash and has bassist Otto adding his own grunts. The record is well paced building and falling at the right times and once again Westerholt doing a sterling job behind the production desk making everything sound huge and evoking a sense of scale on the songs which is a benefit to Charlotte Wessels still stunning vocals she has a fragility to her vocal that is forgotten when she gets to the jaw dropping top of her range which sprawls opera and pop defiantly.

Every record Delain has produced they have added a little bit more to their sound while taking away the bits that don't work, they have become more progressive as they have matured as a band and all of this musical alchemy has come to fruition on Moonbathers, Delain have come of age with this record it will hopefully see them break away from the female fronted metal stamp into a league of their own. 9/10   

Chariots Of The Gods: Ages Unsung (Self Released)

Ages Unsung is Ottawa five piece Chariots Of The Gods' second full length album and comes three years after their debut, after a short hiatus and a line-up change they were ready to record again and for the second time they bring the sounds of the NWOAHM to the modern day, Chariots Of The Gods play groove heavy, thrash influenced metal that straddles classic sounds and metalcore with clean/harsh vocal dynamics, searing lead riffs, massive breakdowns and great songwriting. Fans of In Flames, Machine Head, Killswitch Engage and especially Trivium will love this record, from the haunting opening instrumental piece Primordial Dawn the sound is akin to the Florida band's Ascendancy opening and drives straight into Tusk (not Fleetwood Mac cover) which builds up into a flurry of blastbeats, pumping basslines and nasty riffage with impressive lead guitar dancing over the top.

Lead guitarist Mathieau St-Amour is the main songwriter for the band and he knows exactly how to construct almost perfect modern metalcore. The vocals of frontman Christian Therien are great we get barked at and sung too all in the same song and unlike many in the genre both are good his roars a bone rattling and his clean delivery is powerful and sounds like Matt Heafy mixed with Rob Flynn.

There is a lot of melody on this record balancing out the heaviness Of Prometheus And The Flame has the Killswitch influence running through it, As The Sky Falls is a drumming masterclass, Resurrection brings back the Trivium sound while New World slows everything down as an atmospheric piece that explodes in it's last part. Ages Unsung is an album that looks back to an early millennial period of music but brings it modern day showing that it's still relevant. 8/10

Illustr8ors: S/T (Self Released)

OK so I've gone about this backwards, I reviewed Illustr8ors debut record back earlier this year, but now I'm faced with what is their debut EP. Maybe I was a little harsh on the record but I was expecting to review the second album from Bristol hard rockers and MoM favourites BlackWolf but during the Pledge Campaign they changed their name and adapted their sound to a funkier style of hard rock. Now musically I loved the record it was hard to find fault but I don't like the name (particularly the 8) however I probably let that influence my review a little too much, so this EP is a great way to reassess the band and their music.

Opening with the impressive hip shaking Your Animal Scott Sharp's vocals are still some of the best in the business and Ben Webb (bass) and Tom Lennox - Brown (drums) and Jason Cronin (rhythm guitar) lay down a sturdy foundation for John Greenhill to let his fireworks let loose. The hard rock influences still loom large on Something Biblical but Swimming With Anchors has a furious rocking groove but  moves the band away from their previous incarnation enough to sound fresh while Shush Shush has the groove of bands such as Vintage Trouble and stands out as the strongest declarative statement of something fresh.

In retrospect I was unduly harsh to Illustr8ors PledgeMusic full length but for those that haven't heard the full length, this EP is an excellent precursor to the rebirth of this band, I still have my reservations about the name but BlackWolf is dead this is Illustr8tors time now. 7/10

Reviews: Evergrey, Winterstorm, Lacrimus Profundere

Evergrey: The Storm Within (AFM Records)

Evergrey are a band who are now on their ninth album and with the release of The Storm Within they are following up what many would consider to be their best album Hymns For The Broken, which is a lofty statement considering most of the bands releases are in the top tier of their genre. Now Evergrey have always been something of an enigma merging European progressive power metal with with a rich vein of emotion and darkness that stems from the mind of band founder Tom S Englund. After dealing with a lot of personal issues after The Glorious Collision, Hymns For The Broken was the band's first record in three years and it was not only their most accomplished, hardest hitting output in years but quite possibly the most impressive work of their storied career.

So how then do they follow it up? Surely The Storm Within can't stack up? Well it not only stacks up, in a lot of ways it's superior to it's predecessor (and stop calling me Shirley). Yet again the album is full of epic songwriting, with a cinematic feel from the first chord, the record melds intricate melodies with heavyweight progressive metal that is complex but not elitist, it's the kind of music Evergrey have always been masters of but they seem to be deep in a purple patch at the moment and once again the magic is evident.

The record opens with Distance which sets the tone for this ninth release, it opens with a haunting piano from Rikard Zander before the powerful riffage kicks in with Englund and Henrik Danhage handling guitar duties as Jonas Ekdahl and Johan Niemann provide the propulsive drums and bass respectively, the song is very modern feeling with it's chugging rhythm driven by the flaring drums, the down tuned riffs as the keys filter into the equation nicely behind Englund's impassioned vocal delivery, he has a rare gift for powerful emotive vocals. His rockier range is displayed on Passing Through which has some incredible guitar solos punctuating the hard rock. With two harder songs starting the album Someday allows the band to slow the pace with huge, uplifting chorus and a backing chant of "hey hey" that will sound simply stunning in the live arena, this is how modern arena metal should sound.

It leads into the excellent Astray which once again ramps things up but in the solo section it injects some passion as they put a choral touch to the final part. When there is so much talent on display sometimes it's difficult to take it all in and this is true about The Storm Within it's an album that grows the more times you listen to it, there's so much to discover as the record ebbs and flow there is polar opposition abound with tracks like The Impossible, which is led by a solitary piano and regretful vocal from Englund in direct contrast to the thunderous My Allied Ocean which is pure power metal full of pounding blast beats and dual guitar harmonies and The Lonely Monarch has the dramatic, prog sound that once again is written for stadia.

As the record goes into it's final part the the quality is maintained adding the two guests that appear on this record, first is In Orbit which is a stirring piece featuring Nightwish's Floor Jansen and on The Paradox Of The Flame Englund's wife (and long term vocalist) Carina adds her amazing vocals to the devastatingly beautiful orchestral piece. The Storm Within once again deals with internal and external conflict, mature themes and wraps it all up in some affecting, sensational music that doesn't just live up to Evergrey's previous feats it surpasses them and as the record comes to a close with the muscularly dense title track leaving you breathless but ready to replay the record from the beginning and basque in its opulence once again. You need to buy this album if you love intelligent, interesting metal music, it could just be the band's masterpiece. 10/10     

Winterstorm: Cube Of Infinity (NoiseArt)

The Germans do power metal better than most with such a wide range of acts singing about fantasy, wars and battles, with such a glut of acts coming from the country some can be over looked. Winterstorm thankfully are one band that won't be having released an album every 2 years since 2010 they have always challenged the Teutonic Power metal sound making it more progressive and adding the traditional folk elements heard in bands such as Sweden's Falconer or countrymen Blind Guardian and Orden Ogan.

With two new members (drummer and guitarist) the Bayreuth band has dispensed with many of the hard progressive sounds from their earlier records for a more direct approach this time round the record I believe is a concept piece based around the titular cube as many of the songs seem to form a story surrounding it, as I've said the songs are a lot more immediate than on previous records most don't creep over the 7 minute mark but they all feature some excellent fluid playing from all concerned.

The guitars in unison with the keys the rhythm section galloping away with harder edges than before, some of the tracks on this record could lend themselves to thrash acts such is the riffage. Winterstorm continue to develop their sound and it's this constant improvement that will set them apart from many power metal acts around. 7/10  

Lacrimus Profundere: Hope Is Here (Oblivion) [Review By Paul]

This is a real grower. On first listen the vocals of Rob Vitacca and the gothic overtures of the German outfit’s first release since 2013’s Antiadore was difficult to absorb but repeated plays have released substantial depth and context of a band that has slowly moved away from its death doom roots to a cleaner more mainstream sound. In fact, repeated plays have made it a 2016 favourite with the range of tracks completely in tune with my aural tastes for all things in the Paradise Lost and Anathema region. Add in some symphonic and classical elements and Radiohead influenced indie leanings and it is quite a fantastic album.

LP was founded in 1993 by Oliver Schmid. Hope Is Here is the 11th studio album from a band whose mix of styles switches from melancholic gothic to industrial to metal. Listen to the title track, Aramis, A Million Miles and the classical leanings of Awake for an illustration. Crushing Korn style riffs on A Million Miles still allow Vitacca’s individual delivery to be heard clearly whilst the addition of the symphonic element on Awake mixes it up quite brilliantly. In fact the vocalist who has been with the band for the best part of a decade has a quite stunningly miserable yet incredibly memorable voice that provides the narrative for Hope Is Here, a concept album about a young boy named Aramis drifting deep in a forest.

The band may have moved away from the darker doom delivery but the subject matter and delivery still allow the rainclouds to gather. It’s not all gloom though and this isn’t a plodder by any means. Short sharp tracks such as No Man’s Land race away with driving rhythm from Clemens and Christop Schepperle on bass and drums respectively. Schmid’s clever keyboards add layers whilst the guitar work of Tony Berger and Schmid is both delicate and amply aggressive when called for. Pageant strays from the metal scene with a mix of Iggy Pop, Bowie and Marilyn Manson, demonstrating the versatility of the band.

The highlights for me are the haunting penultimate track Black Moon with its acoustic delivery haunting, the title track which begins in similar acoustic fashion before soaring with a roaring chorus and the industrial stomp of album closer and remix Aramis (Eisbrecher Neuschnitt). However, there isn’t a dull track on this release and I realise that I am now on a mission to hunt out their extensive back catalogue and hope for a visit to the UK in the not too distant future. 9/10

Reviews: The Pineapple Thief, Witherscape, Equilibrium (Reviews By Paul)

The Pineapple Thief: Your Wilderness (Kscope)

Since their formation in 1999, Somerset’s The Pineapple Thief has built a wide and loyal following, laying down solid foundations. Their tenth album, Your Wilderness continues to cement their reputation as one of progressive rock’s leading lights. Main man Bruce Soord, along with bassist John Sykes, and keyboardist Steve Kitch have delivered another superb record, which contains some of the year’s most delicate and intricate compositions.

As with 2014’s Magnolia, Your Wilderness is beautifully performed. In Exile and No Man’s Land build slowly before adding some steel to Soord’s hauntingly misery drenched vocals. Comparisons with other leading lights in the genre are impossible to ignore, but TPF are very much now leaders in the field. Although the band’s sound sits much more towards the indie and alt rock field, That Shore demonstrates that the band can still rock out. With drums provided by Porcupine Tree’s Gavin Harrison, and guest appearances from Supertramp’s John Helliwell (clarinet) and Caravan’s Geoffrey Richardson who provides a string quartet, there is no doubting the quality. Add in some superb guitar work from Godsticks’ Darren Charles and this becomes one of the must buys of the year.

That Shore and Take Your Shot are both densely layered songs which provide all the evidence needed that Sykes and Kitch are integral components of the band. Harrison’s drumming is exceptional, working brilliantly on Fend For Yourself which allows Soord’s voice to combine with Kitch’s haunting keys and Helliwell’s mournful clarinet. The masterpiece on this album is the stunning penultimate track, The Final Thing On My Mind which ebbs and flows with ethereal elegance before a storming climax to a song that clocks in at just under ten minutes but which really flies by. The album closes with another melancholic piece, Where We Stood, which brings a fantastic album to a perfect conclusion. This really is a superb piece of work. Miss it at your peril. 9/10

Witherscape: The Northern Sanctuary (Century Media)

If you like your death metal with a huge scoop of atmosphere and a side serving of progressiveness, then the latest release from Sweden’s Witherscape is going to be right up your street. With complex patterns, death and clean vocals, swathes of sweeping keyboards and a sound that fuses Opeth with early Dream Theater and some classic heavy metal, The Northern Sanctuary continues the story set in 2013’s The Inheritance.

It’s amazing when you listen to The Northern Sanctuary to realise that this is the work of just two men, multi-instrumentalist Dan Swanö and Ragnar Widberg, who provides all of the stunning guitar and bass work. Looking into the history of Swanö is exhausting; the guy has been around the metal scene for a couple of decades and is best known for his work with Edge Of Sanity, Nightingale and Bloodbath. His discography is vast.

But what about the music? Although it is a concept album which appears obvious at certain times when the effects used flesh out the atmosphere, many of the tracks stand alone. Full of hooks, intricate time changes and variation in style, it’s almost schizophrenic in approach. Swanö’s vocal approach is impressive, switching between his death growl and clean vocals with ease. I personally prefer his clean delivery as he has a powerful voice which enhances the quieter sections. Nowhere is this more clearly demonstrated than on the climatic fourteen-minute title track, which is a real epic. Huge riffs, powerful drumming and melodic keyboards all combine to produce a pretty epic conclusion to the tale, which switches from progressive to extreme metal several times. If you wanted a track that acted as a show piece to around ten genres of metal, this would be it.

As well as the clear Opeth comparisons, bands such as Amorphis and Symphony X also come to mind as you work through this release. Rapture Ballet contains a fine Opeth style stomp, whilst there are hooks galore on In The Eyes Of Idols. The quality of the musicianship is quite something; powerful drumming and 70s style keyboards from Swanö mixes brilliantly with Widerberg’s blistering guitar work. Album closer Vila I Frid changes pace completely, an emotional haunting piano solo bringing a quite unique and interesting album to a close. 8/10

Equilibrium: Armageddon (Nuclear Blast)

For those of you who like your metal with a healthy mixture of styles, get your heads around the fifth album from German outfit Equilibrium. Armageddon has to be one of the craziest albums I’ve ever heard, a fusion of folk, death, black and symphonic metal with the added flavour of a typical European style metal Eurovision Song Contest entry. Crushing drums and powerhouse riffs merge effortlessly with classical synthesisers and keys and a guttural vocal approach from vocalist Robse Dahn that brings to mind Tomi Joutsen of Amorphis. Some of the tracks as just bat shit crazy; check out the balls out Born To Be Epic if you don’t believe me. The folk element of Turisas and Eluveitie skips alongside all the chaos. It’s power metal madness with a dollop of high speed Greek dancing on Zum Horizont, which just gets the foot tapping and the body aching (more so than usual? -Ed) for a jig in the sun whilst guzzling down a cold beer. Yes, this lot should be on the main stage at Bloodstock next year for sure.

The album was solely written and composed by original member, guitarist, keyboardist and clean vocalist Rene Berthiaume and opens with the epic Sehnsucht (no, not a cover of their industrial countrymen), soaring keyboards and emotive hooks. It is the first album not to feature Andreas Völk and Sandra Van Eldik who left shortly after 2014’s Erdentempel. It’s also the first to feature some tracks performed in English. It’s a kaleidoscope of sounds and styles that has no right to work but it does so well. Erwachen, the stunningly good Heimat with the Eurovision stomp once more and the riff heavy industrial tinged Prey are just three examples. Tuval Refaeli’s drumming, Dom Crey’s guitar and Makki Solvat’s solid bass work combine with Berthiaume and Dahn magnificently to deliver some of the most insane tunes I’ve heard in a long time including the anthemic seven-minute closer Eternal Destination. Get out and pick this up now. It’s that good. 8/10