Reviews: Exhumed, Mournument, Witchfinder, To Bloom (Reviews By Lee Burnell, Mike JC, Richard Oliver & Matt Bladen)

Exhumed – To The Dead (Relapse Records) [Lee Burnell]

I can’t think of an album that has kicked my ass so much in a short space of time as Gore-Obsessed death metallers, Exhumed and their 2022 release of To The Dead. Exhumed have been on form throughout their storied career and this album shows no hint of slowing down, if anything, they’re still as filthy and furious as ever. From the disgusting opener of Putrescine and Cadaverine, Exhumed have once again channelled their melodeath grindcore roots and produced a potential album of the year candidate for me. 

Exhumed haven’t changed much over the years and they haven’t needed to, every album has been incredibly hard hitting but also feels weirdly nostalgic if you were a fan from the beginning. Matt Harvey belts out some ferocious riffs continuously throughout the offering especially superb yet disgustingly named Defecated. All in all, this was an absolute belter of an album and definitely makes it into my top 5 albums of the year and is absolutely worth checking out! 10/10

Mournment - Smouldering Into Dust (Ardua Music) [Mike JC]

Hailing from Chile, Mournment deliver a crushing, beautiful album that pulls from the folklore of their country and wraps it all up in another delightfully heavy package of melancholic doom.

Right from the off On Rain and Thunder draws you in, a beautiful acoustic guitar melody leads on to whispers, strings, setting the mood, but as the thunder suggests, this is a precursor to heavier things. The whole track flows between crushing guitars, monk like chanting, delicate piano interludes, excellently delivered death metal vocals, it really is a sonic journey.

Melancholy is something that is interwoven throughout this record (as the album title suggests), two such tracks that exemplify this are Sea Of Desperation & A Funeral Poem. I name them both as they weave into each other so well, Sea Of Desperation using acoustic guitar once more, beautifully played over rain, as the rain subsides strings and singing add to the layers, it feels very stripped back, imagining a lonely figure standing atop a mountain, aware of how small they are in the grand scope of the universe. You see! Mournment have a way of really pulling you our of yourself, this track is a palette cleanser of sorts but more so a precursor to the excellent A Funeral Poem.

Striking immediatly, you are pulled back to earth from your existential crisis and met with a classic doom riff, guitars harmonize above it to bring a real sense of melody to the heaviness. This track is one I feel defines this record, it features everything Mournment have done so well across the record, the violins are a particular track highlight.

If you like your doom to make you feel (even if its sad feels) this is a great record, but more than this if you want your doom to feel epic yet somehow restrained in equal measure I highly recommend Smouldering Into Dust. There are just so many things going on sonically that add depth, nuance and real emotion here, Mournment have done an excellent job, I am very excited to hear what they deliver next. 9/10

Witchfinder - Forgotten Mansion (Mrs Red Sound) [Richard Oliver]

Forgotten Mansion is the new album from French stoner doom mob Witchfinder.  They are a four piece from Auvergne-Rhône-Alpes who formed in 2016 and have a handful of prior releases to their name with Forgotten Mansion being their third full length album. 

They have garnered a sizable following among the underground scene opening for stoner and doom heavyweights such as Red Fang, Corrosion Of Conformity, Dopethrone, Ufomammut, Conan amongst others.  Their last release was the Endless Garden E.P. released earlier this year and introduced keyboardist Kevyn Raecke to the band though Forgotten Mansion is the first full length album to feature his playing.

If you have never heard Witchfinder (much like myself prior to this review) then what you get is standard stoner/doom metal fare with clear influences from bands such as Electric Wizard and Windhand but what it is lacking in originality it makes up for in sheer quality. The riffs from guitarist Stanislas Franczak are dirty and ponderous with a sludgy edge to them but are immensely satisfying with it nigh on impossible not to nod your head along. The keyboards add a spooky undertone to the bands sound which contrasts well with the dense and suffocating riffage going on and is a delightful match. 

The rhythm section of Clément Mostefai on bass and Thomas Dupuy on drums keep this straightforward and steady whilst also providing plenty of low end. Vocals are also tackled by Clément and they are of that nasally style favoured by lots of stoner and doom bands and whilst not of any note they are perfectly suited to the music. The odd moments featuring harsh vocals appear throughout the album and they are of the throat shredding style favoured by many a sludge metal band. The album itself is made up of five songs with the two longest - Approaching and Marijuana - taking up the first half of the album. My personal favourite Lucid Forest arrives at the album midpoint and is gnarly as hell whilst also being undeniably catchy which is always a good combination.

Witchfinder for all intents and purposes are very much a by the numbers stoner/doom band. You won’t find anything here that hasn’t been done by other bands but the quality of the music and performances on Forgotten Mansion ensures that this is a thoroughly enjoyable listen. Completely unoriginal but wholly enthralling. Witchfinder are a living example of a tried and tested formula yielding fantastic results. 8/10

To Bloom - A Healing Kind Of Rain (Self Released) [Matt Bladen]

A Healing Kind Of Pain is the debut four track EP from To Bloom, a band who play a very expansive style of progressive rock. Trying to capture their live shows on four tracks, they have drawn on their post-hardcore base to make a much more musically dexterous approach. Founded by vocalist Bruno Lopez-Vargas and guitars it's Kevin Payne, they have the same sort of symbiotic relationship as Cedric and Omar of The Mars Volta so it's no wonder that opener Scarlet sounds like the Texan band as numerous shifts in pace are done by odd signatures, fluid guitar playing and some soaring vocals. 

This has been in the making for five years with the tracks tweaked and changed until they give the best representation of what the band do, as the band name reflects the 12 years of collaboration to get where they are now. Post hardcore is what much of this album is hinged on with Marionette also having the big choruses of Coheed & Cambria, but there's jazz, classic prog, AOR and some Latin rhythms there as well to really bring a dynamic sonic palatte. 

In the backroom Sean Dawson's bass and drummer Logan Gardner's percussion can give you heaviness on Wander, but then in a blink of an eye they can bring a new dimension to a song such as We Can Never Go Back To Arizona which undulates between emotional emo, jazz inflected melodies and atmospheric post rock, where Logan Gardener shows his incredible drumming. A Healing Kind Of Pain is a debut EP that has had a lot of work put into it, for fans of emotional prog then you'll love it and I'm looking forward to a full length from this Portland Group. 8/10

A View From The Black Of The Room: Saxon & Diamond Head (Live Review By Simon Black)

Saxon, Diamond Head – St David's Hall, Cardiff, 14.11.22

Much as I love the acoustics in halls like this (designed as they are for theatrical performances and classical music without the benefits of amplification), they’re far from ideal for Metal gigs. What they give with one hand to an old fart like me in terms of chronic tinnitus not taking three days to clear and a nice comfortable view of a well elevated and lit stage, they take away in terms of atmosphere. Let’s face it, for a line up like this, nothing beats a hot sweaty club of a few thousand capacity like Nottingham’s Rock City. Sadly we don’t have one of those of suitable size in Cardiff for bands’s of this pedigree.

Diamond Head (7) consequently are opening to a relatively sparse crowd who are not particularly keen on getting out of their chairs to lend any support, underlining once again the criminal neglect that this band have experienced over the decades. Given their influence and despite some of the shocking business decisions in the past that shaped their career, they really do deserve better in terms of recognition and contribution. And a bit of love wouldn’t go amiss.

Vocalist Rasmus Bom Andersen goes for broke regardless, and delivers a bolshy and boisterous performance, determined to drag the audience out of their lethargy. He may not succeed in actually dragging half of them out of the venue’s bar before their short eight song set finishes, but he does whip up some support from the ones in the auditorium with a set split evenly between the material this line up has been releasing since the eponymous 2016 release and the older material that Lars Ulrich made famous for them. 

Despite giving a fairly sound performance, there is sadly no way of avoiding the reality that these older songs were written and arranged for a singer with far less talent and range than Anderson, and consequently do sound better when Hetfield et al brutalise them – as Anderson is a powerful, clean and strong singer. That newer material, however, worked ten times better, got a better reaction from the punters even though they had never heard them before and deserves the opportunity to be exposed more widely. Leave the past in the past chaps, and keep looking forward…

Which would seem to be the ethos Saxon (10) adopted tonight too.

Now, this is a band that I have to confess to having seen a fair few times over the years. And there’s a reason why I rock ‘n’ roll up time and time again (even if you exclude the numerous festival line-up’s I’ve seen them at too) and that is because they absolutely deliver each and every time. To be honest you can put them in front of an army of twenty thousand Bloodstockers or a tiny club of five hundred, as they will scale their performance to fit the venue and tonight we get a more theatrical performance such as I have not seen from them since the 1990’s. 

OK, not on the scale of thirty foot aluminium eagles, but plenty of space to move, some rostra to make nice silhouettes on and an expensive light show for Biff and the boys to pose against, tongue very firmly in cheek. This worked given the constraints of the venue and with a bit more bluster injected into their performance, they got people on their feet for most of their set (albeit mainly in the lower half of the venue). Announcing that they were recording the show also shook off any residual apathy and Cardiff responded as it always does to such an news - very fucking loudly.

What was not expected at all, was the set list…

Saxon have been as guilty as every other established act of pandering to an audience’s demands over the decades, which let’s face it is not to have more than a slight peppering of anything from whichever album is the most recent and to ride the wave of nostalgia for the songs that everyone knows and loves for the bulk of the set. And let’s face it, they do that in their own way too, making the crowd a part of it by giving them a couple of options and playing whichever gets the largest roar. It’s a great way of making the audience feel involved, although I guess open to manipulation, given no-one is ever going to choose Ride Like The Wind…

Not quite tonight, however.

We get three songs from the fabulous most recent opus Carpe Diem, with which the opening track opens the show but at least half the set also came from material from the last two decades, leaving many of the regular Saxon attendees slightly wrong-footed, since I don’t suppose many of them have actually bought a new album recorded before 1990. But for old hacks like me who have kept up, and the die-hards who buy everything and keep the band alive, this was a fabulous set choice, because most of this material only got brief airings when it was the current release way back when and probably hasn’t been aired live since. And let’s face it, the prospect of another live album with less material pre-1989 makes since, considering there’s been at least a dozen of them in the last forty years.

What that set list showed though is how strong and consistent is their writing over the years, and despite that unfamiliarity, the audience rolled with it and roared the house down. Holding back a few classics for the end the before the usual game of “let’s pretend the show’s over”, the audience’s patience was rewarded with two sets of encores delivering that more familiar material. The band were on top form tonight, and despite Biff’s voice sounding a little strained at times, he had the audience in the palm of his hand and kept that interaction with the front rows going despite the stagier setting, creating an intimate feel despite the distance between punter and stage. 

Extra marks in audience participation are awarded beyond the usual breaking the fourth wall handshakes for borrowing someone’s battle vest for Denim And Leather - which bless him he did return having autographed it, even if it did get given back to the wrong side of the crowd.

You always know what you are going to get with Saxon and that’s a solid night of bloody decent old school Heavy Metal, from a band that seem to be more immune to the ravages of time than the crowd. Playing a very different set list was a master stroke, and proof that old dogs do still have a few new tricks.

Reviews: Distrubed, The Unguided, We Are Magonia, MMXX (Reviews By James Jackson, David G, Matt Cook, Mike JC)

Disturbed - Divisive (Reprise Records) [James Jackson]

Like many of us old enough to remember, the early 2000’s brought us the Nu Metal genre and like many I bought into most of it and since then I’ve seen the rise and demise of many bands all hoping onto that particular bandwagon.

Having survived the fickle nature of many musical trends, Disturbed are one of a few bands that have continued to make music and stave off commercial Death at the hands of what is or isn’t popular.
And to that end I’ve recently had the opportunity to listen to their latest offering: Divisive.
Other than playing their absolutely genius cover of The Sound Of Silence repeatedly upon its release back in 2015; the original a track I grew up with; I’ve heard very little of Draiman and Co since The Sickness and it’s follow up album Believe.

I soon tired of the style and indeed that whole Nu Metal tag early on in its conception, finding that there was little to entertain me and keep me hooked, in the heyday of Nu Metal’s glory I found that Slipknot’s much lauded sophomore album Iowa to be one of their weakest, that Alien Ant Farm only had one good song and it wasn’t theirs and Coal Chamber really weren’t that great no matter how many times the media told you they were.

I got bored of it all and in the meantime a band I’ve followed for years were evolving, making music that was experimental and capable of losing old school fans as well as earning new ones with broader ideals.. but that’s another story. One of the things I’ve enjoyed through my love affair with metal however is that ability to evolve, to try something new whether it works or not, somewhat at odds to that I also happen to believe in the old adage of “If it ain’t broke, don’t fix it”.

And that’s where I find myself with the latest Disturbed album. I stopped listening to Disturbed when Believe came out, mainly for the reason that it really didn’t offer anything new, nothing stood out for me and six albums later it’s really just more of the same.

There are a few bands I can think of that haven’t changed the template since their conception and I don’t listen to them either and that’s just personal preference, I like to shuffle a bands back catalogue and instantly know by a tracks sound and arrangement that it is from a particular album and I just can’t do that with Disturbed, maybe if I was more of a fan rather than an extremely un-casual listener then I’d be album to tell my Believe from Indestructible but currently I cannot.

This album has Disturbed written all over it, the groove laden guitar riffs, the driving rhythm section and of course Draiman’s rather distinctive voice and style; I’ve recently discovered Bad Omens and their The Death Of Peace Of Mind album and I can more than happily press repeat on the whole album, playing very tracks over and over again and that was upon my first play through.

I can’t do that with Divisive unfortunately, rather than playing anything again, I’ve reached for the skip button. It’s familiar and safe for those who are fans of the band and I’m sure there’ll be a multitude of reviews doing them lip service but this isn’t for me. 4/10

The Unguided – 616 EP (Napalm Records) [David G]

Swedish four-piece The Unguided were initially founded by former members of metalcore act Sonic Syndicate and seem to have made a transition away from more hardcore inspired music to something that nods more heavily in the direction modern Swedish melodic death. There's also a healthy predilection for what appears to be World Of Warcraft inspired artwork. This EP purportedly includes re-recordings/re-workings of a quartet of their most popular tracks and comes across as a bit one-note.

I put the emphasis on modern in modern Swedish melodic death, as the inevitable screamed vocals are really the main remnants of the style on display. This is a rather polished effort that leans into aspects of lighter Soilwork/In Flames, naturally including those sections punched in by syncopated beats, overlaid by dreamy, echoing vocals and some trance-lite ephemera via keyboard fluff. There's nothing that feels particularly threatening or that really gets the blood pumping here (though surely there is the intention at points) because at its heart the music is safe.

That is not to say it’s bad, of course. Unguided Entity the track is a workmanlike chug-along until the brief breakdown two-thirds in brings the knife to the fight, it’s a short-lived moment and as predictable as it is, it feels rather vibrant. Eye Of The Thylacine, which is rather emo-ish at times, has a melancholic chorus that makes good use of vocal effects and the clashing approach of Richard Sjunnesson and Jonathan Thorpenberg. Iceheart Fragment starts with the seeming intention to liven things up with a rather fun rhythmic flourish but too often retreats to calmer ground in lieu of getting further up into your grill.

On this release The Unguided certainly sound very capable musicians and display a knack for a catchy chorus. Whether it is the song selection leaning into their more popular numbers meaning that the tracks here are a bit similar in their approach and therefore the band’s dynamic capabilities are not displayed as they could be, I could not say. The lasting impression is how conciliatory it all seems, rather like a little, friendly small talk. 5/10

We Are Magonia - Triangle Unicode (NewRetroWaveRecords) [Matt Cook]

Arguably the most attractive aspect of synth-based music is how versatile the percussion instrument is. The sky really is the limit as soundscapes are created in beautiful luscious meadows or musty abandoned caves. For a more positive or comforting slant, synthwave is your best friend. But for something more heart-racing and chilling, look no further than darksynth. We Are Magonia expertly orchestrated 35 minutes of foreboding, grim and downtrodden turmoil while effectively and sparsely introducing elements that evoke upbeat, happy-go-lucky moods.

Triangle Unicode is equal parts glitchy and jumbled (La Crypte), pulsating and prominent (Triangle Unicode) and indecipherable (Go To The Devil). However the real draw, the crux of this record’s staying power, is the melancholy and mystery. Written In Blood kicks things off in the vein of a sprawling, time-sensitive secret mission. The synth and bass significantly amps up in the final 30 seconds, which metastasises into the title track that is chock full of abandoned-church-at-night vibes. Pushing Up Daisies can’t seem to decide if it’s indicative of a bad time or a vehicle in which to saunter off into the sunshine with pep and swagger.

That’s exactly what makes Triangle Unicode thrive. The juxtaposition between good and evil - oftentimes within the same track - ensures the listener is always on their toes, unsure of what’s coming next while being forced to prepare for everything and anything. And finally, “If She Floats…” appears to allude to the infamous witch trials and the preposterous notion that if someone is in fact a witch, they will float to the surface of a body of water because of their inherent rejection of baptism. The paradoxical flip side being anyone thrown into a lake who is not a witch will sink, therefore any “innocent” person will be killed anyways.

We Are Magonia concocted a serviceable smooth album that nary overstays its welcome and produces enough flavour and variety to keep followers engaged and entranced. 7/10

MMXX - Sacred Cargo (Candlelight Records) [Mike JC]

Today's metal offering is brought to you by MMXX with their release Sacred Cargo.

Considered a Doom supergroup, the trio of Guitarist Andrea Chiodetti (formerly of The Foreshadowing) Drummer Jesse Haff and Bassist Egan O’Rourke (both previously of Daylight Dies)cleary have individual pedigry, but what they collectively bring is a sense of controlled heaviness and melody.

Opener 'This is not my breath' featuring Mikko Kotomaki starts off with a gorgeously metalic riff akin to the work of Meshuggah, albeit much slower, together with death growls and sweet harmonies it really does set the tone for the record and what MMXX are all about. The new forgotten ones featuring Yann Ligner shifts the balance by letting the vocals lead the song, riffs keep tempo and drive the song forward as the singing sails over the heaviness, delicate guitar interludes then give way to subtle electronics, the progressive influences really shining through on this track.

Title track Sacred Cargo featuring Aaron Staintho exemplifies the sound this trio has crafted, starting right from the off with heavy doomy riffs, slowly building and building before giving way to rather welcome chugging guitars and those oh so appropriate death metal vocals. There is so much going on sonically, with the addition of strings and spoken word, mixed perfectly in my opinion, this really is delightful stuff for us doom heads.

On that note, this record is very well produced, keeping things heavy but mixed well enough that each component is allowed to breathe.You may also notice at this point that there are a lot of features on this album, each bringing something different but always complimentary to the sound designed by MMXX, there is a real sense of purpose to everything here, with the featured artists adding to that completely.

Due to my own personal tastes I do wish at times the record would break from its perfectly executed restraint, I did find myself yearning for just a little bit more 'oomph' shall we say, but that is more a me problem that one for all of you lovely doom heads out there. There is absolutely something to enjoy on every track on Sacred Cargo. 

I would say Opeth fans would find a lot to like here, as well as fans of Swallow The Sun and My Dying Bride, I highly recommend you give this one a spin. 8/10

Reviews: Candlemass, Threshold, Freternia, 17 Crash (Reviews By Matt Bladen)

Candlemass - Sweet Evil Sun (Napalm Records)

The lords of doom return, almost four decades of slow, heavy, bone shaking metal and Swedish titans Candlemass give us their latest sermon Sweet Evil Sun. Much like how British institution Black Sabbath are worshipped Candlemass two have a rabid following and are quite rightly worshipped in the same way. Of course any Candlemass will always be compared to their two most famous albums Epicus Doomicus Metallicus and Nightfall. However with original vocalist Johan Langquist back in the fold since 2019's The Door To Doom, bassist Leif Edling has crafted this record for 18 months, actively attempting to recapture their early days with the most spellbinding, occult, all encompassing riffs the band have ever attempted. 

Unlike what Edling does with Avatarium his other major project, Candlemass don't move too far from the script they drafted back in the late 80's, Wizard Of The Vortex, opening with a distorted riff from Edling's bass and Mappe Björkman's rhythm guitar, it marches forward with the military beat of Janne Lind as Lars Johansson's lead guitar screams, the pace shifting into a gallop for him to unleash echoed soloing. One track in and we're on familiar ground Candlemass bringing both girth and glory. There is an Avatarium link to this record to as Marcu Jidell's production feels warm and welcoming, but also moody and mysterious, the title track feeling the most like something from the days of vinyl and rooms of heavy smoke hanging low in the air. 

Avatarium singer Jennie-Ann Smith lends her evocative voice to the moody When Death Sighs working in contrast to the more dramatic delivery of Johan Lanquist. The riffs keep coming on the shifting Angel Battle, the crushing Black Butterfly while Scandinavian Gods is heavy rock meets doom, the 7 minute Devil Voodoo continuing the heavy rock leaning as Crucified goes full doom ready for worship. The true heirs to the Sabbath throne, Candlemass will continue to inspire generations of doom bands and fans with their sound, but they are no nostalgia act as this 13th album attests. 9/10

Threshold - Dividing Lines (Inside Out Music)

Threshold are one of the longest lived and in my opinion best progressive metal bands around. Certainly top of the UK heap for sure led to this day by guitarist Karl Groom and keyboardist Richard West, over the years they've had a multitude of members, with three vocalists, the most recent being Glynn Morgan who first sang for the band in 1994 and came back in 2017 for The Legends Of The Shires, also adding rhythm guitar, joining long term drummer Johanne James and bassist Steve Anderson to complete the most recent line up of the band. 

Obviously like every band this follow up to the The Legends Of The Shires was delayed by the global pandemic, but this has in some ways influenced the music on this 12th album as The Legends Of The Shires was upbeat this record is somehow darker, heavier but also more melodic than previously, the chorus on Hall Of Echoes a euphoric moment very near the beginning of the record, Glynn belting out a live go to for the future, but then you get a more brooding, moody moment on Let It Burn which is a chugging modern prog metal track, even having some screamed vocals as a backing, evolving into orchestrations. 

There's more to like here than on The Legends Of The Shires for me, the narrow storyline of that record meaning that it was very much self contained. Here you can take your own interpretation of what the songs are about, and because of that the songs are as resonant as you want them to be. Even with more focused numbers like Silenced, the songs are extremely impressive from a musical perspective the writing and production of Groom and West, is still some of the best around, the latter making them very in demand for their audio manipulation skills. 

Both songwriting and production are showcased as usual on the epics such as The Domino Effect and Defence Condition, having those sprawling, musical journeys Threshold are so accustomed to but both shift into territory that may not have been covered before. Though the same can be said of the most of this album with tracks like Lost Along The Way are from the likes of bands such as Yes. More Threshold is always a good thing in my book and Dividing Lines is Threshold at their most efficient and creative. 9/10

Freternia - The Final Stand (ROAR Rock Of Angels)

Are they Swedish? Are they German? Who cares! (They're Swedish - Geography Ed) Freternia play fantastic European power metal. Originally around in the late 90's early 2000's when only Hammerfall and Helloween were still carrying the flag for power metal, Freternia waited until 2019 to release third album The Gathering after most of the current version of the and spent time as Cromonic and now in 2022 they give us their fourth The Final Stand. 

Stripped back and ready to take on anyone, The Final Stand is back to basics Euro Power Metal that is inspired by hope lyrically, but bands such as Helloween (Deris years), but also Swedes Persuader and Italians Derdian. It's music built on a strong foundation forged by the drums of Oskar Lumbojev and the bass gallops of Nicklas Von Porat as his brother(?) Patrtik locks into some Downing/Tipton, Hansen/Weikath twin axe harmonies with Tomas Wäppling, the solos on Shapeshifter and Flame Eternal, very tasty indeed. 

The messages of loneliness and despair are galvanised by a feeling of hope delivered brilliantly by the soaring vocals of Pasi Huppi every track bringing a goofy grin but their songs never shift into the silliness of some bands in the power metal zone. They stay true to classic metal and write anthems to get you fists in the air, a sprinkling of keys from Patrik von Porat and Tommie Johansson, adding to the melodies to Shapeshifter and an electronic pulse to The Tower. 

Songs like Elvenstar, bring pace with double kick drums and that Helloween influence, Endless Fight continues the breakneck pace adding some triumphal synths, the drumming unstoppable, much like the choruses that make you want to sing along Every. Single. Time. By the time you reach the title track, you'll want to play the whole thing again. The sign of a great album, Freternia play excellent power metal any fan will love! 9/10

17 Crash – Stamina (Rockshots Records)

When the new album from Italian rockers 17 Crash you'll think their probably watched too many Leone films, as A Song For Ennio's Western vibe that sets the scene for this defiant fourth album. Written during the toughest lockdowns in Europe, these 80' styled heavy rockers found it hard to keep their AOR meets hard rock upbeat as the world around them grew smaller, however Stamina is an album about resilience and the power of the human spirit to do things you never thought possible. 

It's a metaphor for a band who are in this for the long run led by drummer Phil Hill and singer Ros Crash, they have embodied many different sounds over the years starting out as pure AOR fluff before getting heavier and shifting into the glam meets blues rock band they are now with nods bands such as H.E.A.T and Crazy Lixx but also Hardline and Y&T, the harder edged riffs like Soul are polished to a shine, while the lighter moments like Keep Yourself Alive are backed by some gutsy riffing. 

However In My Dreams is a bit too sweet for my liking, but does have that LA Glam scene style colours nailed to the mast. You can imagine it being played to death on MTV, which can be said for a lot of this album to be honest. Stamina is all about the bands resilience and it's defined by some radio friendly rocking. 7/10 

A View From The Back Of The Room: Porcupine Tree (Live Review By Matt Bladen)

Porcupine Tree, OVO Arena, Wembley, London, 11.11.22

After what had been a 12 year hiatus and for me a 13 year wait to see them live again, my beloved Porcupine Tree returned to the live stage once more. After the excellent new album Closure//Continuation came out earlier this year the announcement of a tour got me very excited indeed. So on 11th November 2022 it's down to Wembley Arena for what was the final date of their world tour.

A hometown show in London was on the cards and it proved to be a special night for all. Packed to the rafters, there was no support just 3 and bit hours of the headliners consisting of the trio that are now called Porcupine Tree; Steven Wilson, Richard Barbieri and Gavin Harrison along with two American in live bassist Nate Navarro and guitarist Randy McStine.

It was this five piece that entranced a packed arena from the first moment playing the entirety of their new album interspersed between classics drawn from Signify onwards, for my fiancé who was watching them for the first time the focus on In Absentia and Fear Of A Blank Planet as the bulk of the setlist was more than welcome as it seemed to be for most of the audience the songs from FOABP going down especially well with the London crowd.

But more on that later as the slow build throb of began in earnest about 10 minutes before showtime building up in to something more ominous just as the lights went down the volume went up and they started with Blackest Eyes, the dirty riff of that tune perfectly captures in the live sound of the venue. Not too loud, or distorted the mixing was perfect meaning you could hear every single note instrument and vocal line from Wilson, the tour clearly taken a toll on his throat but still managed to hit every note with the help of McStine on the harmonies.

With a welcome, a thank you and promise of less repartee and more music they dove into three from Closure//Continuation the riff fests of the cathartic Harridan and the dark prog chug of Rat's Return sitting each side of the beautiful Of The New Day, the voice and keys of Wilson and Barbieri in unison. From here we got Even Less from Stupid Dream, an album that really like but could be considered a little too pop, here though Even Less was the ideal way to cleanse away the heaviness with a bit of anthemic, dream pop.

The acoustics brought out for the insistent Drown With Me, the drumming of Gavin Harrison restrained here but still taking focus even on what sounds a like a really easy to play song, Narvarro's bass too a star here as this rest bite from the new stuff ended with the haunting Dignity, lots of synths, keys and chiming open guitars, hammering home the message of this song, aided by the visuals that were used only when needed, the band letting the music do the talking rather than the visual feasts that Wilson uses in his solo career.

With Dignity washing over the seated crowd, something that Wilson has complained about in the past, but encouraged people to stand for a better atmosphere. The fact that they could have just asked to not have it seated, meant that it seemed weird to complain about it. Anyway as the first half of the show came to a close the two most political numbers came with prophetic Sound Of Muzak and the pro-environmental Last Chance To Evacuate Planet Earth Before It's Recycled, the final song of the first half being Chimera's Wreck ending on a high.

Then what followed was the shortest 20 minutes of my life and we got down to the meat of the evening the savage Fear Of A Blank Planet relighting the fire to a big applause, the riffs of McStine, Wilson and Navarro heavy and thunderous while Harrison's drumming was a powerhouse. The peak of this leading to the trough of Buying A New Soul which had dual synths from Richard and Steven as the acoustic beauty unfurled.

Nice to hear a song from Recordings especially an underrated track like Burying A New Soul, the Depeche Mode like Walk The Plank came after here all electronic and angular, what came next was the brilliant Sentimental building the tension back for the Herd Culling, the vicious prowling last cut from Closure//Continuation. Playing an entire album can be a risk but not for Porcupine Tree as it was slotted well into the older stuff, so it didn't feel forced.

With the new album finished there was a little bit of banter about Porcupine Tree playing long songs, and with that they unleashed the 17 minutes Anesthetize to rapturous applause, McStine especially shining here carving up Alex Lifeson's guitar solo, as Gavin Harrison's again proved what a bloody great drummer he is. It was a stand out moment and from there it was all classics, the evocative I Drive The Hearse the only song from what many thought would be their final album The Incident, the introspection continuing into the unsettling Sleep Together. With that the main set was closed, the band leaving the stage for an encore.

What an encore it was 3 of mine, and everyone else's it seems, favourite PT songs, starting with the gorgeous, emotional Collapse The Light Into The Earth, where the occasion did get to Mr Wilson as he told us he had forgotten the words, just as the room began to fill with light from phones, twinkling like stars, this enormo-dome arena show, suddenly feeling intimate and comfortable, 12,000 people all living in one moment in unison. It was a magical sight to see and left a lasting memory

Wiping away the tears the riffs were brought back for Halo (the only song from Deadwing, boo) Steven again forgetting the words, but no one cared as the home stretch was in sight. Finally it was time to go but not without one more song, Steven explaining that PT had never been a singles band, they'd never had a hit, the reason they were able to play a show like this was due to the passion of the fans that were there. However one song of there's does somehow stand a little taller than the others and with that the conclusion of the evening came with Trains, complete with a rockstar-like false finish/reprise, it was ended and the room shook with approval.

To say this had been a long time coming would be stating the obvious but with previous viewings at Royal Albert Hall, festivals even reasonably small venues too, there was something a bit special about this Wembley show. Maybe it was the occasion, maybe it was the setlist, maybe it was the company. I don't know but I'll remember this for a long time to come. Porcupine Tree are most certainly back so roll on Manchester 2023 and show number 14! 10/10

Reviews: Turned To Stone Chapter 6, Mister Earthbound, Rage Behind, Live By The Sword [Reviews By Rich Piva & Matt Bladen]

Captain Caravan/Kaiser - Turned To Stone: Chapter 6 (Ripple Music) [Rich Piva]

I know we are getting close to Christmas, but it has come early for me with the release of another killer split LP from the best label in rock Ripple Music as a part of their Turned To Stone series. This time with Chapter Six we have two amazing Scandinavian stoner bands, Captain Caravan and Kaiser. These splits never ever disappoint, and I have the last couple from this year on my top albums of the year list.  Let’s see if this one can stack up.  I have a pretty good feeling given 1. this is Ripple and 2. Both these bands are killer. 

Of course, this is excellent, with Captain Caravan kicking us off with killer stoner vibes and riffs with the track Down, but really hitting their stride with maybe their best track yet, Sailors.  The riffs and the solo are absolutely killer on this song and is what you have come to expect with the Turned To Stone series. Painted Wolf is another killer track and reminds me of all the great stuff coming out on Sixteen Times Records these days (Carson, Deville recently). 

She Can has another killer opening riff and zooms down whatever the equivalent of a Scandinavian highway is with the windows down and the smoke billowing out. More riffs with Void, and do I hear organ as well? Another killer track with some snotty vocals and Sabbath worship riffs. Love it. Five absolute killer tracks from Captain Caravan.

Not to be outdone, Kaiser brings it with their four song offering on the flip side, starting out with Howl, which kicks us off with a jet engine starting up and some serious QOTSA riffing but also a driving rhythm section that creates very unique backend sound. This one is a ripper, as is their second offering Fire, which is just that. 

A killer opening riff and the higher octave vocals are excellent, but there is something about Kaiser that just sounds different that a lot of what is out there today. There is a punk feel to these guys, but like if the punks spent a whole bunch of time listening to Fu Manchu. Black Sand Witch slows it down a bit, but the heavy is still there, as is that unique rhythm section sound. We close with Phoenix Parts 1,2, & 3, which is a ten-minute stoner/psych epic adventure that just needs to be experienced. 

I am not sure how Ripple keeps a series going with such amazing consistency.  The Turned To Stone Series is mandatory listening if you like heavy rock. Ripple Music is an absolute zone in curating these splits, and the offerings from Captain Caravan and Kaiser are just as amazing as the rest of the series. Check out this and the rest of the Turned To Stone offerings, just ridiculously awesome stuff. 9/10

Mister Earthbound - Shadow Work (Kozmik Artifactz) [Rich Piva]

Some swampy, stoner goodness is on display with the debut full length Shadow Work from Richmond, Virginia’s Mister Earthbound.  Some excellent riffs, great vocals, and seven killer tunes makes this one of the best debuts of the year.

Not To Know starts of off, and right off the bat you get riffs a-plenty, but the vocals make this some next level stoner goodness. I love the slowed down part of this track midway through that gives you a haunted swamp vibe that I think they are going for on Shadow Work. The band calls themselves a “Swamp Rock N' Roll quartet” and you can totally get that vibe. They have a very bluesy stoner thing going on and it is excellent. So Many Ways is slowed down heavy blues that you can picture was conceived on someone’s porch overlooking the murky depths of the local bog. The bluesy guitar work with the powerful vocals makes this just killer. 

Coffin Callin’ has a chill groove to it, some more great guitar work, and leans more on the psych tip. I love the haunting vocal stylings; this track reminds me a bit of the latest All Souls offering. Hot Foot Powder is some excellent psych blues, swampy indeed. Do I hear some Concrete Blonde influence in there? Spooky haunted swamp vibes. 

Wicked John is some more haunted swamp goodness, almost a funeral march through the mist and haze. More spooky blues vibes with Weighted that also brings a killer crunchy solo. No Telling closes us out with a back porch bluesy acoustic number that continues the overall vibe on Shadow Work and is a nice way to end this swampy trip. 

Mister Earthbound have created an excellent debut record with Shadow Work. Great blues riffing, excellent vocals, and a nice swampy vibe, this is one of the debut records of the year and is a must check out if you dig this vibe. 8/10

Rage Behind - Season Of Blood (Atomic Fire Records) [Matt Bladen]

Combining the members of several French bands, Rage Behind are a groove metal machine inspired by the likes of Lamb Of God and Devildriver with thrash and metalcore combining into big breakdowns, aggressive riffs and screamed vocals. 

Having toured with bands like Heaven Shall Burn, Rise Of The Northstar amongst many others, they have tweaked their passionate, politically charged music to where it is today, ready to unleash it on this EP, the masked agitators using music to reset many people's moral compass back towards a collective consciousness rather than individual concern. 

Through Wrath is a stomper with a massive breakdown which is at the heavier end of their sound while Dictated Freedom has the guitar work and vocals of a Pantera track, defiant and rage filled but with a big chorus. Season Of Blood has a lot to like about it and if you're a fan of the groove/core sound then you'll be stomping around each of these five meaty cuts. 7/10

Live By The Sword – The Glorious Dead (Rebellion Records) [Matt Bladen]

Live By The Sword releasing their concept EP the glorious dead on 11/11 isn't a coincidence, it expands upon their 2020 album Exploring Soldiers Rise, by paying tribute to any member of the armed services who have served or given their life for their country. 

Using a multi genre approach this Dutch American band featuring vocalist Erick Barnes, a former seasoned member of the Marine Corps, guitarist/synth player Wouter Davids, bassist/engineer/producer Freek De Greef and Devils Blood drummer Sander Van Baalen, the foursome returning to make this interesting EP that deals with the impact of war from different angles. The fact that Barnes has served in the military means that the lyrics hit home a bit more with this record their heavy, punky version of traditional song The Green Fields Of France. 

So to the EP and all the tracks, with one exception, were written for this special release the title track and Into A New Dark Age, written and played acoustically, evoking emotions with the stripped back nature, the guitar lines of Wouter not always going where you'd expect as the production from Freek makes this album sound quite retro, finally it's Erick's deep vocals that cut through the moody playing with a resonant bellow. In Memoriam is yet more harrowing doom driven by Van Baalen's drumming. 

The doomy riffer Sacrifice the only song on the record that will appear elsewhere as it's from their next album Cernunnos, due to be released next year. The lyrics were written by Solstice's Richard Walker, hinting at the tone for the new record. I'd never heard anything by Live By The Sword before but this EP has piqued my curiosity in them as a band. A fitting EP to be released on Armistice Day, the one off concept dealt with dutifully here. 7/10

A View From The Back Of The Room: Fozzy, Escape The Fate & Scarlet Rebels (Live Review By Mike Chapman)

Fozzy, Escape The Fate & Scarlet Rebels, Patti Pavilion, Swansea, 10.11.22

Tonight the Patti Pavilion, the Swansea crowd is ready for a night of pure rock and roll. I arrive to a palpable excitement in the air, a raw enthusiasm, a sense of expectation, Fozzy have come to town.

Due to traffic I missed most of Scarlet Rebels but they started things off with their own brand of hard rock, the crowd responsive and energetic, a worthy opener for what is soon to follow.

Soon after Escape The Fate (8) take to the stage, the energy rises. They rip into a songs of old and recent with joy and abandon, Ashley, Issues and Broken Heart standout tracks in a packed setlist electrifying with both melody and heaviness. Vocalist Craig Mabbitt strikes a triumphant figure as the band whip the Swansea crowd to a frenzy, the pit a blur of bodies as feet stomped and horns are raised. The band leaves the stage to rapturous applause, the energy lifted significantly.

The moment arrives, Living Next Door To Alice of New World & Smokie fame blasts out, the crowd singing along (rude chorus inserted) before Fozzy (8) take to the stage. Frontman Christ Jericho (yes, THE Chris Jericho) fills the stage with personality as the band fly straight into Sane from latest album Boombox, the pace is set and does not falter.

Regarded by many as one of the greatest professional wrestlers of all time, Jericho is every bit the rock star front man he is keen to be defined as when fronting Fozzy. The group blazes through an excellent set list, balanced well with songs both new and old, and the odd tasteful cover (Fozzy says relax a show highlight). I Still Burn, Martyr No More and fan favourite Enemy with extended guitar solos from the excellent Billy Grey & Rich Ward elevates the atmosphere in the room to a fever pitch.

Jericho has the audience in the palm of his hands, a commanding entity throughout, guitars still humming as they salute the crowd and leave everyone wanting more. Fear not, more arrives with a crushing performance of Judas followed by a cover of AC/DC's Dirty Deeds Done Dirt Cheap. A bow is taken and the crowd erupts, Fozzy came to entertain and did so with force. Every band played with a sense of fun and enjoyment that absolutely translated to the crowd.

Let it be known, rock and roll came to the Patti Pavilion and a good night was had by all.

Reviews: Lamentations, Dirt Forge, Despised Icon, Hedra (Ben Baljak, Rich Piva, Lee Burnell & Matt Bladen)

Lamentations - Passion Of Depression (Willowtip Records) [Ben Baljak]

Lamentations are back with their second full-length, following 2016 debut album Echoes In The Wind. Passion Of Depression is a cinematic concept album that portrays the pain, pleasure, joy and sorrow that encompass one’s life journey. Accompanying Danny Jungle Jacob - frontman, Chris Stropoli - Drums, Prophet - guitar and Jose Figueroa - bass for this grandiose indulgence of notes are various guest musicians. Including guitarists from Cynic, Extol, Black Crown Initiate and Exist to name but a few.

The album opens with Prodigal. Beautiful guitar melodies stacked on top of more technical riffs complimented by smart drumming and the ethereal arpeggios of guest keyboard player Gregor Connelly. The song then opens up with demonic discordant chords and aggressive vocals that sound like the war cry of some kind of carnivorous mastodon, whilst the bassist runs some nice licks between stops. At the halfway point, Lamentations give us some lush piano harmonising with acoustic guitars and the mysterious mastodon with a thirst for blood shows that he can also sing. It’s hard not to think of Opeth during these sections; but who can’t appreciate some Opeth-isms ? Philistines that’s who!

Anew opens deceptively soft and bewitching. A lulling into a false sense of security that serves the impact of the bitch slap of prog death and high IQ guitar solos. Shiver hits hard! and guest guitarist Santiago Dobles and Jason Gobel prove their chops. The intro solo tapping faster than the unholy hybrid of a chronic white knuckle rider and a pneumatic drill with the precision of a bionic-eagle. Discordant damning atmospherics into a riff for the headbangers whilst Gregor comes back for a synth solo, breaking for the twisted lullaby of harmony vocals and then another decent into the depths metal was forged in. Tou-Fucking-Che.

Sombre features the supporting arrangements and keyboards of Steve Harbour. Starting like a dark fairytale with classic, mystic horror movie strings. Until guest guitarist Ole Børud introduces the brutality to come with some satisfying shred. The song swings in and out of the regions above and below for its duration of almost eleven minutes. Fluidly transporting us between conflicting realms. Ire expresses what it says on the tin; fury, rage ,wrath! Fast and violent throughout and another great guest lead from guitarist Ethan McKenna. It really says something when the listeners break from more complex songwriting is the brutal death metal song ... and that’s not to say that Ire lacks in complexity.

I’d say that Obeisance is the weakest song on the album. Perhaps this is why Lamentations have hidden it somewhere near the back. Still, that’s not to say it’s a weak song in the least. Although I’m beginning to wish it was, as all these compliments I’m giving are starting to make me feel a little nauseous. I’ve been looking forward to this; The obligatory fifteen minute epic at the end of any progressive album. Known by some as the art of self fellatio. And to those some that I have just made up; I ask - is it self indulgent to create a masterpiece? Perhaps, and perhaps Ouroboros wasn’t born that way. Is the prog player just an amalgamation of Narcissus and Ouroboros destined to nosh on his own custard launcher for all of eternity? I think not! … On this particular occasion…

Anyway! Nurture is fantastic! Once again Steven Harbor takes supporting arrangements and Max Phelps gifts us with a bluesy Spanish inspired guest guitar solo. The song wraps up the album with a haunting, crushing aesthetic perfect for laying there and contemplating picking up the pieces of skull and brain matter debris from when your head exploded a few songs back. Passion Of Depression is - to sound pretentious; A piece of evocative art. I am a sucker for a good heavy concept album. And my only gripe with this one is that Lamentations didn’t give me a chance to whinge a little. Now I’m going to have to find a child to punch to get rid of some of this pent up negative energy. And that’s all on you Lamentations! 

There is a concern and curiosity over how they’ll take this show live. With only one official guitarist and the addition of guests being well … guests. It’s hard to see how any of these songs are really possible in the live format. Hopefully they’ve already got a plan. If you’re a fan of technical progressive death metal and the diversity of bands such as Opeth then Lamentations - Passion of Depression is an album you just can’t miss.

Album now added to personal playlist. 9/10

Dirt Forge - Interspheral (Majestic Mountain Records) [Rich Piva]

Copenhagen, Denmark’s Dirt Forge play some heavy sludgy doom and do it really well. Their sophomore album, Interspheral, is a bulldozer mowing down everything in its wake, but the record is not just a brute; there is some nuance here that differentiates the band from others in the same circle. That being said, there are some pluses and minuses on Interspheral.

First off, I am not sure if it is the promo I have, but the production on this album is murky. I want to blast this, and have it come clean out of my speakers (clean may not be the best adjective for this band, but I think you get it) but something about the sound is not letting me. I am hoping this sounds much better on vinyl. 

The opening track is a weird instrumental that almost sounded like it didn’t belong or was somehow corrupted which starts Interspheral out on a strange note. It’s a choppy start. However, once you get to the meat of this record, starting with the nine-minute Highest Low, you get some killer sludge with vocals barked out at you but not just all brute force, the tempo changes throughout make this the true intro to this sludge/doom trip. 

I get some serious Crowbar vibes from these guys as well as Mastodon. Ascension is an excellent track that makes me think a double bill of Dirt Forge and Behold! The Monolith would be very relevant. I love the vocals on this track, as you have the barky, but you also get an urgent wail as well in parts. Moralterations is another instrumental intro that leads into another sludge ripper, Left In A Lurch. Which pretty much rips your head off and has an almost psych/space feel to the track, but subtle. 

I really like when these guys go loud, quiet, loud. They do it very well and it is very effective in keeping this record on the rails and interesting. Miscommunision is the most Mastodon worshipping track I have heard in a while (compliment!) while Descension closes us out with another mistimed instrumental.

So, what I was able to hear I really enjoyed. I think there may have been an issue with the copy I have, but the sound was muffled, and the tracks seemed either cut or corrupted (or it was meant to be this way, which I hope not). What I was able to hear was excellent; tracks like Highest Low and Left In A Lerch are killer sludge/doom, but it was hard to truly experience this record. I am going to redo this review when I have a full copy and more than likely increase the score, but from what I could make out this will be a big hit for those who like the sludgy doom with barked out, heavy vocals. 7/10

Despised Icon - Deterre (Nuclear Blast) [Lee Burnell]

Canada’s own Despised Icon have a re-released an EP made up of tracks from 2005’s The Healing Process, 2016’s Beast and a 2005 split with Bodies In The Gears Of The Apparatus. Deterre is a nice throwback to see the progression of the band’s history and shows of a great mix of death and grindcore with a cheeky bit of Dillinger Escape Plan chucked in there for good measure.

Starting off with Warm Blooded and Bulletproof scales, it teases listeners with the pacing throughout the two tracks which can only leave you feeling unsettled with constant timing changes which are both disgusting and brutal. One Last Martini shows the DEP influence here from the get go but up until this point, the EP just feels very repetitive in regards to the pacing of the tracks re-released for this. The songs are strong but feel kind of samey.

Oval Shaped Incisions offer some nice grooves with some jabs of blistering guitar and drum work but again, it doesn’t exactly wow and finally Sever The Ties offer more or less the same. All in all, a decent EP but I feel like they had stronger songs that could have made the cut but it was a nice trip down memory lane for Despised Icon fans. 6/10

Hedra - The Pecking Order (Devils Clause Records) [Matt Bladen]

Formed way back in 2014, Hedra have been a name to watch for a while now however founding members Jim Marten (vocals) and Kamil Korsak (guitar) found themselves in a constant stream of new bassists and drummers which hindered the band somewhat for the first few years of their existence. Despite being a studio project for a while all bands want to get out and showcase their music, so new members were needed. It was in 2020 that the current line up came to be, just as live performances started up again in 2021. With the big slab of Murphy's Law behind them, as well as numerous gigs to refine the new line up of Zoran Gyenis (guitar), Lukas Mozdzenski (bass), and James Redden (drums), Hedra look set to fully realise their potential. 

Building on some singles they signed to Devil's Clause Records and now release this new EP which is a study of the animalistic traits our leaders adopted while trying to navigate the pandemic, the lyrics damming the way the British government treated those lower than them while frequently ignoring the law. Thus establishing the social pecking order. Throughout this EP, Jim compares the similarity between human and animal relationships and how these have effected the country at large. It's deep in its lyrical content but then it is prog metal. Modern prog metal at that built on an emotional heart but with technically gifted playing in every passage. 

From the djent of Jackdaw, through the groove metal of Stolen and Suchi, the level of heaviness is high, down tuned riffs and fat grooves driven by some natural sounding production. AvisMogi slows things down with a bit of drama and metalcore choppiness, the vocals of Marten at their most tested as Storm Clouds adds some more emotion leading to the finale of Head Held High where o can hear a bit of Creed. With a steady line up now in place Hedra are now set to take on the prog metal pack. 7/10

Reviews: Ring Of Fire, Mantric Momentum, About Us (Reviews By Matt Bladen)

Ring Of Fire – Gravity (Frontiers Music Srl)

Neoclassical metal orginators Ring Of Fire return with their fifth studio album of virtuoso melodic, powerprog. Still led by founder member Mark Boals (Shining Black/ex-Yngwie Malmsteen), they released three albums between 2001 and 2004 returning in 2014 with founding guitarist Tony MacAlpine and keyboardist Vitalij Kuprij for their fourth album. 

On this fifth album only Boals and Kuprij remain as the creative force but they are joined by guitarist/producer/Frontiers go to Aldo Lonobile (Secret Sphere/Edge Of Forever/Countless Others) with bassist Stefano Scola, and drummer Alfonso Mocerino rounding out the 2022 edition of Ring Of Fire. They don’t shy away from their neoclassical roots on this record opening with 7 minute organ drenched, progressive guitar workout that will get the fretboard fanciers very excited as Lonobile and Kuprij duel throughout, Boals’ soaring vocals perhaps not as strong as they once were but still reaching highs only dogs will hear. 

The Beginning is a muscular opener setting a tone form nearly an hour of music as half of the songs are over the 6 minute mark. Giving the keys and guitars mainly the room to show off, though that rhythm engine don’t make things easy, even on a track such as Storm Of The Pawns, which starts and re-starts moving from a piano recital to a big riff monster, though it’s Melanchonia where Lonobile melts faces. Due to the progressive nature of the band there’s lots of elements on every song, so it does need a few listens but any neoclassical metal aficionado will be picking out every bit of sweep picking, every keyboard run, every arpeggio from hell, even when they slow down for Sky Blue and Another Night (which for me are the weakest tracks), there’s a laundry list of technical things going on that I’m too much of a novice to recognise. 

Lonobile here does what he does on every album he’s part of and plays with restraint, unleashing when he’s needed but mostly he allows Boals and Kuprij to take their place as the band founders, getting the attention. I’ll say I have always preferred when Ring Of Fire go full on like they do on Run For Your Life but variety is the spice of life and Gravity is another neoclassical lesson from the masters. 7/10

Mantric Momentum – Trial By Fire (Frontiers Music Srl) 

Another month another Frontiers collab. This time the debut from Mantric Momentum, not Tantric Momentum which is what powers Sting and David Icke I think? Anyway Mantric Momentum is a melodic metal band that features Terje Harøy, singer of Pyramaze and multi-instrumentalist Christer Harøy (Divided Multitude, Crossnail). 

The idea for this band has been around since 2011, with some one-off singles released feature guest vocalists, the slow pace due to Harøy’s commitments in other bands.With the songs written a full time singer was sought and keeping it in the family Christer got his cousin Terje to be the vocalist he wanted, luckly for Harøy, Terje is the voice of Pyramaze a band that counts Matt Barlow as a former singer so he has to be good. 

Thankfully on the back of first two tracks, the heavyweight Course Of Fate and the more melodic In The Heart Of The Broken he doubles down on his cousins choice of singer, with a wide vocals range that can suit any style. Harøy plays guitars, bass and drums here with some additional appearances by drummers Frank Nordeng Røe (Maraton/Big City), Lawrence Dinamarca (Loch Vostok) and Truls Haugen (Circus Maximus), while the some of the guitar solos come from Jimmy Hedlund (Falconer) as Magnus Karlsson (Primal Fear/Freefall) orchestrated the intro Tabla Rasa. 

Still the core are Christer and Terje, with Christer’s writing evoking some excellent melodic metal, the kind that Frontiers are so closely associated with (In The Eye Of The Hurricane), with nods to Pyramaze and Symphony X on Final Warning and New Horizon, although without the progressive metal, though Diamond is 8 minutes and brings some Kamelot and classical guitars. Terje belts out tracks such as Fighter and the chunky Trial By Fire like Jorn Lande, his voice adaptable, so much so that it often sounds like two singers on Final Warning.

On the final track (I’ll Never Be) Maria Magdalena the vocals of Tina Gunnarsson join in the symphonic touches brought by keys player Ketil A Jensen. A very strong debut that I’m sure will bring a follow up, let’s see if they go further down the melodic route or the heavy progressive one. 8/10

About Us – About Us (Frontiers Music Srl)

There has been a lot of talk over the last few years about rock and metal music coming from India, with the heavier end of things covered by bands such as Bloodywood and Demonic Resurrection, it’s time for bands who are very much on the ‘rock’ side to showcase what they can do. As usual Frontiers has the answer re-releasing the debut album of About Us. They hail from an area of Nagaland called Wokha (‘Land of Plenty’), but could sound like they are from the sun kissed streets of L.A or the neon nightlife of Stockholm. 

Yep it’s melodic rock/AOR that the Yanks and the Scandis do well, nods to bands such as H.E.A.T come on Our Fairyland, while Loaded Love is a bit Mr Big, Rock On Top is in the sleazier sounds of Reckless Love. The driving riffs and high vocals (I mean sky scrapingly high) used throughout to really give you an idea what About Us can do, you’d be hard pressed to know that they were not a European or American band. 

Drawn from various backgrounds and bands when they formed in 2019, they combined all their passions in to About Us, meaning for all these styles can be heard wrapped up in a melodic rock blanket (doesn’t that sound cosy?), Rise and Golden Troops for example are both a bit heavier, the first late 90’s Winge, the second thrash. More familiarity comes on Gimme Gimme which chugs and has a big chorus making it the ideal single, Open Your Heart is the ballad but isn’t as saccharine as some melodic rock bands, feeling a bit Beatlesesque. 

A fresh contender in the melodic rock arena I’m sure we’ll know all about them soon enough. 8/10

Enuff Z’Nuff – Finer Than Sin (Frontiers Music Srl)

“Enough is enough and it’s time for a change!” the famous catchphrase from much missed wrestling superstar Owen Hart, was taken on by 80’s rockers Enuff Z’Nuff as founding bass player Chip Z’Nuff took over lead vocals three albums ago, in that time they have released a Beatles covers album and also their own material, the latest of which is Finer Than Sin. 

However there hasn’t been a change in their sound since those halcyon days of the Viper Room, they still merge late 80’s hard rock with some Beatles-like sounds, take for example Catastrophe which sounds exactly like Def Leppard, a band I’ve compared them too many times before. Chip is joined by his long term band Tory Stoffregen (guitars), Tony Fennell (guitars), and Daniel Benjamin Hill (drums) and they are still digging that well-worn trench which has seen them move ever closer to the Sheffield rockers, especially with Chip upfront. 

From the woozy Intoxicated, to the swirling Hurricane and with rockers like Lost And Out Of Control as well as Trampoline. This album seems to have live vibe to it, book ended by instrumental intro Soundcheck and the outro Reprise, the songs contained are paced like a live show would be, they even throw in a Sex Pistols cover as the final song. 

This speaks volumes to Enuff Z’Nuff’s blatant Anglophilia, never have a Chicago band wanted to sound more British, but hey if it works for them and their fan base, who am I to judge. Based on the music though I still think sin has the edge in finery. 6/10

Reviews: Warkings, Munroe's Thunder, Jordan Red, Blakk Ledd (Reviews By Matt Bladen)

Warkings - Morgana (Napalm Records)

Their second album in as many years by the multi national power metal unit Warnings and this one moves on from their R titled albums to the stories of Morgana Le Fay in Arthurian Legend. This album is based loosely around the 'mistress of the lost souls' who has joined the Roman Tribune, Viking, Crusader and Spartan to escape the underworld telling the story in four acts, Hellfire, Monsters, Heat Of Rage and Immortal each of them featuring guest vocalist Lacri as Morgana. 

Her growls adding to those oh so familiar clean vocals of The Tribune. I'll say that the four songs with 'Morgana' are the best here but the remaining tracks, are still very deeply in that already established Warkings sound. The tracks away from the concept are all based on fantasy and history, the Warkings dealing with Hereward the Wake on Last Of The English, Salamis on Row (Into The Storm) and a man unjustly enslaved, on Shame, delivered their trademark heroic power metal style. 

With three albums in such quick succession the Warkings style is perhaps wearing a little thin on Morgana, but Warkings continue to crank out power metal like it's going out of fashion even throwing two covers on this record with Powerwolfs Armata Strigoi and Dragonforce's Cry Thunder rounding out the album, though neither are really needed, Cry Thunder somehow feels less epic than the original. While there's still a call for this style of power metal, Warkings perhaps should go to their separate camps to build up some more tales before going to battle again. 7/10

Ronny Munroe/Munroe's Thunder - The Black Watch (RFL Records)

Ronny Munroe is an established name on the US metal scene having been the singer of Metal Church from 2003 to 2014, he's also been a part of Lillian Axe, Presto Ballet, Trans Siberian Orchestra and recently joined Vicious Rumors as they're new singer. Since 2015 he's also had his solo project Munroe's Thunder. 

Signing to RFL Records six years ago Ronny set about writing a concept album about The Black Watch, the legendary Scottish military unit that protected Mary Queen Of Scots and protect the Royal Family to this day. Munroe has ancestors who were part of the unit that guarded Mary so he has some ties to this story, which inspired him to go for the concept. However there is a more current and perhaps more personal connection between Munroe and this record, as it has taken six years due to the discovery that Munroe's wife had Ovarian Cancer, he put the project on hiatus to care for her but she lost her fight in 2019. 

This adds a whole other resonance to this album as it is a tribute to Ronny's wife more than anything else it is. All the musicians involved knew J Von (his wife) so were affected by the recording to try and make the ultimate heavy metal celebration to her. This means that there's a real heart to this record driven by Munroe's raspy, loud, classic metal vocals. Even on a track such as Babbington Mary, where it is a ballad there's a muscularity to this album, driven by that voice and the experience in Metal Church and Trans Siberian Orchestra especially, the TSO influence coming on the use of synths/keys and orchestration on tracks such as Falkirk/Thirty Years War as well as the conceptual nature of these storytelling tracks. 

Mostly though this record is brimming with chunky heavy metal with the title track, Dead Man's War and Echoes Of The Dead, celebrating the life of Munroe's wife as well as telling a fantastic historic tail through the medium of heavy metal. 8/10

Jordan Red - Hands That Built The World (Self Released)

Recorded at Cardiff' Long Wave Studios, produced, mixed and mastered by Romesh Dodangoda (Those Damn Crows, Inglorious, Motorhead, Nova Twins, Don Broco), guitarist Dan Baker teamed up with New Device's Daniel Leigh to start writing the songs that would eventually become Hands That Built The World, joining them are Conor O'Keefe (bass) and Dave Fee (drums) both of them formerly of As Lions. 

Jordan Red are a band who are brimming with modern rock energy, bringing alt metal, punk and melodic rock to the table, mainly due to the melodic vocals of Leigh who I've always thought was an excellent singer, the closest thing in the UK scene to Alter Bridge man Miles Kennedy, and while his own band have embraced their more electronic/poppier side, on Jordan Red it sounds like the big rock anthems of New Device's debut, a track such as the title track. 

Baker has an ear for talent, as well as a head full of ideas, as speedy melodic rockers such as Beautiful Monsters are often counterpointed by the alt metal of Way Down. There's a concept to this album which deals with seeing the reality in situations as the even the band name is an amalgamation of clinical psychologist Dr Jordan B Peterson and the idea of taking the Red Pill in ‘The Matrix'. Delayed by the pandemic just as they were going to premier, they adapted and overcame and now are ready to show their music to the world. 

So to the music and it's a very modern, very catchy and reminds me of Shinedown as the open riffs are met with electronics for tracks such as Don't Let The Heavens Fall and It Calls My Name that bring the emotion, with electronic atmospherics while We Are Everybody carries the Alter Bridge influence. The production is strong and tracks such as Cast A Flame bounce out of your speakers. A record about what it means to be human, delivered through the medium of radio bothering modern rock/metal, it's a clever trick and one that pays off due to the skill of everyone involved. 7/10

Blakk Ledd - Heavy Metal Fans (Melodic Passion)

Swedes Blakk Ledd are a heavy metal band formed by Tommie and Anders in 2014. As you can tell from the title they are Heavy Metal Fans, what this means is that they are basically a bunch of friends emulating their heroes. These heroes are Priest, Accept, Primal Fear etc adding to their ranks as they searched for a singer, as they found Christer ‘Cidda’ Elmgren, the second guitarist and drummer left the band meaning that this record is all drum programming, and it shows, the drumming is really simplistic, sounds fake and tinny production wise. 

It's a shame as the songs are decent enough if you like classic metal and 80's heavy rock, but for me the drum programming is really distracting, on the other hand Christers vocals are pretty damn good, on Bad Sign sounding like Klaus Meine, the lyrics are a little ropey in places but heavy it's heavy metal. Blakk Ledd are heavy metal fans, and the fans idea shows, despite being experienced band, they don't do anything you haven't heard elsewhere. 6/10