Reviews: Trollfest, Jetboy, Thomas Silver, Mojo Bozo (By Gareth)

Trollfest: Norwegian Fairy Tales (Napalm Records)

Upon first listen to Norwegian Folk-Metal band Trollfest eighth full-length studio album, I am reminded of the phrase "Never judge a book by it's cover" Going in I was expecting your fairly run of the mill folk/power metal cliches, but even in opening track Fjosnissens Fjaseri, they prove themselves to be cut above rest with regards to their peers. Heavy guitar and accordion riffs alternate between playing in perfect unison and complementing one another, time-changes are executed with prog rock precision and intricately harmonized gang vocals wrap around the black metal-Esq screaming lead. By track two Kjettaren Mot Strommen, we are introduced to the full range of instrumentation used by the band, with grand piano, saxophone, and strings adding to the overall soundscape. More surprises come throughout the album, with the band dipping into elements of pop and prog in later tracks, angelic female vocals on Fanden Flyr offer a welcome change of to the onslaught of lead vocalist Trollmannen's screams.

Overall the album feels like the soundtrack to a weekend-long bender out in the fjords, having embraced the local folk music, sampled a bit too much of the local ale and woken up surrounded by livestock as the sounds of violins and tin whistles echo in the distance in the final climactic track on the album. My only criticism of the album is that because there is so much going on musically, some of the more interesting musical ideas often feel a bit short-lived and that we are only seeing a glimpse of what this band is capable of if they decided to flesh out some of the more "out there" ideas. Trollfest is clearly a band who do not feel pigeonholed by genre and very willing to experiment while still upholding the main stylistic conventions. The band themselves do not class themselves as folk metal, however, preferring to say that they play Balkan metal, if this is what Balkan Metal sounds like, then I can definitely say that I'm a fan. 8/10

Jetboy: Born To Fly (Frontiers Records)

Remember Jetboy??? Probably considered by most as one of the lesser 1980's LA sleaze/hair bands, living in the shadow of the likes of Motley Crue, Ratt and Quiet Riot, Jetboy wore their influences on their sleeves, sounding more like AC/DC and their namesake song's authors New York Dolls, rather than the EVH/Steve Vai influenced virtuosity that made a lot of 80's rock sound so alike. However, the imminent rise of thrash metal and grunge of the late 80s/early 90s that sent most bands of their ilk into obscurity, Jetboy was no exception. A couple of attempts at a reunion through the late 90's/00's and they're back again, this time with former Faster Pussycat bassist Eric Stacy in tow for a brand new album. Things kick off to a great start with the Motorheadesque. opener Beating The Odds, forever missed late Motorhead frontman Lemmy even makes an appearance in the form of an interview clip in the mid-section of the song. Despite the strong start the rest album just seems to plod along and descend into tired and worn out rock'n'roll cliche. 

Title track Born To Fly displays some Acca Dacca like swagger and I can imagine it going down well at a summer festival but later tracks such as the predictable power ballad The Way You Move Me (track 4 on the album, just like in the old days) and closing track Party Time! just feel like a band going through the motions rather than reigniting old passions. In the band's press release they've stated that the track Inspiration From Desperation is influenced by the current political climate in the U.S, however, the overall message of said track seems to be so vague that it could be in support either side of the political compass, so as not to alienate potential fans perhaps? That being said I wouldn't exactly expect to hear bold political statements coming from Jetboy, tracks such as A Little Bit Easy and She feel a lot more at home for the band's lyrical content, the latter of which feels like a cringe-worthy attempt to tap into the youth of today with the voice of a millennial young lady talking about how many Instagram followers she has and lyrics about taking selfies. 

Overall I can't fault Jetboy's enthusiasm, sticking to their guns by keeping the spirit of rock alive, not going with the crowd as they did in the '80s while everyone else was two-hand tapping and sweep picking, however, I feel this album is strictly for the die-hard fans. For everyone else, if they're playing a festival you're already going to this summer, maybe give them a look in. 5/10

Thomas Silver: The Gospel According To Thomas (Red Cat Records)

Fantastically titled The Gospel According To Thomas is the debut solo album from former Hardcore Superstar lead guitarist Thomas Silver. Having parted ways with Hardcore Superstar in 2008 citing tiresome touring schedules and loss of inspiration, Silver has clearly found his fire once more, it may have taken over a decade, but from the pomposity of the album's title and the overall lyrical themes, it is clear that he has something say. Opening track Caught Between Worlds is a hard, driving rock anthem with a weird and wonderful edge to it, Silver, while not the strongest vocalist has his unique style, the likes of Andrew Eldridge and Type-O Negative's Peter Steele come to mind upon first listen, the more Baritone rock vocal is a welcome change to the usual higher range which this genre is more familiar with. Minor Swing shows off some of Silver's less conventional musical inspirations, tapping into some more punk and new wave influences. A pogoing-paced track sounding like The Clash's London Calling played at double speed, or fellow Scandinavian's Hanoi Rocks, Silver brings the music that he was raised on up to date. 

Lead single D-Day works as an excellent summary of the entire album, a moody ballad feel in the verse's building up to a huge stadium rock sized shout-along chorus (even if the "Everybody!" rally cry is somewhat reminiscent of The Backstreet Boys' Backstreets Back (Alright) ) The lyrics in this song seem to deal with Silver's departure from and return to making music "Maybe I'm the one to blame, Maybe I'm the bitter shamed, Maybe I would do it all again" The song changes pace in the middle 8 to showcase Silver's true calling as a phenomenal guitar player. The auto-biographical lyrical themes come to a peak in the final song of the album All Those Crazy Dreams, documenting his rise to stardom and fall into middle-aged mundanity; “the years go by, and we’re suddenly grown-ups, with families and kids, houses and German cars, you know we’re rock n roll stars.” It is an honest and moving statement that is rare to hear from our aging rockers. 

Overall the Gospel According to Thomas is a theatrical "dark pop" album, blending elements of the Hard Rock that his former band was best known for, along with vivid callbacks to genres such as Punk, New Wave and Goth. Excellent, well-constructed guitar solos on just about every song and brutally honest lyrics form a compelling chronicle of the past two decades of Reverend Silver's life. 6/10

Mojo Bozo's Electric Circus: Electric Circus (Self Released)

Hailing from Annapolis, Maryland, Mojo Bozo explode onto record with fuzz-toned, feedback-soaked psychedelic energy, it is instantly evident that the 3-piece is heavily influenced by the past, in particularly psychedelic, garage and surf rock of the late 1960s. After an intro-track that acts somewhat as an overture, the first real song Paranoia opens with punchy riffs and intense playing from all 3 members, building to a Josh Homme-esque. chorus, all wrapped up in a perfect rock single length of 3 and a half minutes. Later tracks delightfully hope between, rock, flower-power pop, and blues. The stand-out track for me, however, is Some Kind Of Magic (nothing to do with Freddie Mercury and Co.) A Zombies-like, Summer of Love pop gem, complete with a cheeky reference to the "Oocha Shaka" chant from Blue Suede's Hooked On A Feeling's buried in the mix of the instrumental break (made famous by Guardian's Of The Galaxy for those under 30/Reservoir Dogs for the over 30's) Another stand-out track is instrumental Swamp Thing, which is straight up Dick Dale-style surf rock. 

Catchy and bouncy and made me want to be dancing with Go-Go dancers in a 1960's nightclub. The playing on the album is impressive, very tasty guitar leads, flashy but never felt masturbatory as I find many progressive rock/metal players, the riffs throughout are catchy but inventive, with many of them instantly hum-along-able. I'd say the main thing that normally puts me off psychedelic rock, is the looseness of it, Mojo Bozo don't fall into this trap, however, the band is tight, but orchestrating chaos in places. Blending the retro influence with modern production and performing intricately written passages made to sound improvised. The album comes to climax with an instrumental sequel to the opening song simply titled Paranoia II, an adequately manic freak out to bring this very impressive love letter to the past to a close 9/10

Reviews: Rhapsody Of Fire, Chalice Of Suffering, Kings Destroy, Ossuarium (Rich & Paul H)

Rhapsody Of Fire: The Eighth Mountain (AFM Records) [Rich]

It’s safe to say that Rhapsody Of Fire have become rather the subject of ridicule in metal circles over the last few years with several tumultuous behind the scenes incidents such as the notorious name change to Rhapsody Of Fire, losing singer Fabio Lione to Angra and then founding member Luca Turilli splitting from the rest of the band and forming Luca Turilli’s Rhapsody. It’s been a rocky time for the band and the band have been very much tested but not defeated. Led by founding member and keyboard player Alex Staropoli the band have released their eleventh album The Eighth Mountain. This line up of the band released Legendary Years back in 2017 which was an album of re-recordings but The Eighth Mountain is the first album of original material with this version of the band.

This is a reboot of sorts for the band with this album being the start of a new conceptual saga and the band sound positively invigorated and ready to unleash this new chapter upon us. The classic Rhapsody Of Fire sound is there - huge sweeping symphonic power metal anthems full of pomposity and grandiosity with licks of medieval folk music but there is an extra kick of fury and aggression thrown in the mix as well heard evidently in the furious guitar playing of Roberto De Micheli. Fabio Lione was always going to be a difficult singer to replace being one of the finest in power metal but with Giacomo Voli they have seriously found a worthy replacement. He impressed me with his take on the classic Rhapsody Of Fire material on Legendary Years but he really comes into his own here and shows a dazzling range and jaw dropping power.

The songs throughout the album are nicely varied from the fast and furious, to mid paced power metal anthems, folk driven ballads and of course colossal orchestral epics with the orchestral parts performed by the Bulgarian National Symphony Orchestra. As a very nice surprise we even get narration from the late great Christopher Lee in the grand album finale Tale Of A Hero’s Fate. This is a damn fine comeback for the band showing that they are far from a spent force. It doesn’t quite meet the levels of the classic Rhapsody Of Fire albums but it gets damn close. It’s reassuring that the legendary tales will keep on coming from Rhapsody Of Fire. 8/10

Chalice Of Suffering: Lost Eternally (Transcending Obscurity Records) [Paul H]

The sophomore release from US band Chalice Of Suffering is just crushing in its morbid heaviness. There are riffs bigger than icebergs here. Opening track In The Mist Of Once Was leaves no doubt that this death/doom at its finest. Massive slabs crash down, the guttural howl of John McGovern unearthly and unnatural. Eerie bagpipes courtesy of Kevin Murphy haunt the track. Emancipation Of Pain follows, poignant keys adding a ghostly quality to an already sinister sound, McGovern switching between growls and chilling clean vocals. Overflowing with emotions, bleak in its outlook, this is an album built for the frozen winter time. 

There are elements of melody despite the general overwhelming despair which spews forth. Like a giant megalodon, the album slowly grinds its way forward, a stinging loneliness providing a harrowing undercurrent throughout. Several guest vocalists adding their misery, including Demonstealer of Demonic Resurrection on Miss Me But Let Me Go and Giovanni Antonio Vigliotti of Somnent on Lost Eternally. In terms of death/doom metal, Lost Eternally is immense. Seven tracks weigh in at 62 minutes in length. It is slow, heavy and doleful. Don’t put it on if you want cheering up. A darkened room, flickering candles and a snowy landscape outside will help immeasurably. Embrace and accept the Chalice Of Suffering. 8/10

Kings Destroy: Fantasma Nera (Svart Records) [Paul H]

Hailing from Brooklyn Kings Destroy is an atmospheric grunge doom outfit. This is their fourth album and pretty good it is too. Their first release for four years, this is a mix of many styles, with an underlying accessibility like early Foo Fighters. Barbarossa is case in point; a punchy clean track that is all done in just over three minutes, with a sweet guitar breakdown and a hook that snags deep. There is more than a bit of Alice In Chains tucked away here [Dead Before] as well as some sumptuous Soundgarden style drawl of Seven Billion Drones. Produced by David Bottrill whose credentials include Tool and King Crimson, this album departs in style from the band’s previous releases. It is expertly crafted, retaining a raw edge despite the hard polish on each track. 

“We challenged ourselves to make the best album we could,” said singer Stephen Murphy. “…and we left our guts on the table. When I finished the vocals on this album, I was mentally and physically broken from the effort. I did not sing again for two months after it was recorded. I owed that effort to my bandmates, and they did the same for me.” With an effort like that, it would seem only right to afford the band the courtesy of a listen. You are unlikely to be disappointed if you enjoy some thought-provoking cerebral challenges with a hard rock underbelly. Kings Destroy is Aaron Bumpus (bass), Stephen Murphy (vocals), Carl Porcaro (guitar), Rob Sefcik (drums) and Chris Skowronski (guitar). Give them some love. 7/10

Ossuarium: Living Tomb (20 Buck Spin) [Paul H]

Dark, menacing storm clouds gather overhead. The ground begins to tremble. Giant, mountainous riffs hurtle earthwards and suddenly you are amid Living Tomb, the debut release by the Portland, Oregon outfit Ossuarium. Formed in 2016, this album is impressive from start to finish and immediately provoked references to Vaniaja, the Finnish death metal outfit who weave a web of mystery. A traditional bludgeoning on Blaze Of Bodies is followed by a more complex piece, the seven-minute Vomiting Black Death which builds with demonic intent before bulldozing everything in its path with gargantuan heaviness. 

Soaring devilish guitar work enhances the track which threatens to explode as it drives forward with an intensity rarely heard in today’s death metal scene. More epic soaring work follows with the slow grinding doom edge on Corrosive Hallucinations. More aggression and driving power follow on Writhing In Emptiness, whilst the real death metal accelerator is hit on End Of Life’s Dreams and Visions Pt.1… whilst the enormous Pt.2 closes an intensely punishingly heavy release. In Living Tomb, Ossuarium have produced an album of quality from start to finish. 8/10

A View From The Back Of The Room: Frank Turner & The Sleeping Souls (Live Review By Alex)

Frank Turner & The Sleeping Souls

Frank Turner has become the most successful folk punk artist of the last ten years. His popularity doesn’t necessarily come from a trend towards singer-songwriters or a resurgence in the genre. Rather, he has earned a reputation as a showman, an artist with a passion for live music. The best concerts are the ones which summon up that communal spirit, and it is a feeling which is in plentiful supply tonight.

Grace Petrie (8) opens the night. Throughout her set, she cracks jokes, performs uplifting protest anthems, and generally succeeds in getting the sparse amount of audience members early in a great mood! While she is accompanied only by her acoustic guitar on a wide stage, she performs with conviction

Every single ounce of praise which could be granted to Jimmy Eat World (8) has already been given out. An inspiring act from the early emo movement and great songwriters in spite of the simplicity of the music. Despite their status though, they perform with an incredibly humble attitude - almost as if they were in the early stages of their career, seeming overjoyed to be the warm-up act. Jim Atkins and co. mostly play their biggest hits, charging through Pain and Get It Faster with charisma while Hear You me provides a beautiful moment of quiet introspection. While the band has some devotees here who know every lyric, the crowd doesn’t really erupt until the notorious closer, The Middle. Regardless, they are a great opener, who give over a lot of energy in preparation for the main act.

‘This is a punk rock show’ Frank declares mid-way through Photosynthesis, ‘but there are two rules. 1. Don’t be an asshole and 2. If you know the words you’ve got to sing as loud as you can!’ These opening statements become the blueprint for the entire show. Thousands of people, being kind to one another and raising their voices in unison. Recovery, If Ever I Stray and I Still Believe are just some of the anthems eliciting large crowd reactions – ones which are always matched by the huge performances of Frank Turner And The Sleeping Souls (10). When he needs to, our charismatic frontman taunts and jibes the audience until we reach acceptable heights of volume. Meanwhile, he never stays still for a second longer than he needs to, jaunting around both on and off stage as if locked in a fierce competition with the audience: who can emanate the most energy? Who can bring the most life to this show?

Perhaps fittingly given Turner's reputation as a folk artist, there are moments where the band leave the stage and this becomes a solo performance. These prove some of the best parts, as we get the chance to hear some rarities including This Town Ain't Big Enough for The One Of Me, the acoustic rendition of Glorious You, and Eulogy – translated into and performed in Welsh. None of the friendliness or camaraderie which is bought to the show is let up in these moments, and even feels strengthened when our frontman insists that we come together regardless of differences. As the encore ensues, we are guided through lively performances of The Way I Tend To Be, Get Better, and finally Four Simple Words. It is on this last, adrenaline-fuelled song in which every inhibition still lurking finally lets up. A circle pit is formed before Frank leaps into the crowd, microphone still in hand, both to crowd surf, and waltz with random audience members.

If I had to only point out one thing I loved about this show, it would not just be the great music on display, the bells and whistles of the stage show or the support acts – although trust me when I say that all those things were equally awesome. Instead, it would be the sense of community brought about by a crowd of adoring fans raising their voices in unison. To take one of Frank's own songs slightly out of context ‘’some people think that we’re fools’’. Indeed, stepping out into the real world after the house lights are raised feels somewhat reluctant tonight. Still, there is something euphoric about singing ‘’we can get better because we’re not dead yet!’’ with hundreds of strangers. What a show! What a great show!

Reviews: Metallica, Downfall Of Gaia, Ed Wynne, Damnation Army (Paul H & Rich)

Metallica: Helping Hands…Live & Acoustic At The Masonic (Self Released) [Paul H]

How about a double live album of one of the greatest metal bands of all time, stripped back and acoustic and all for charity? Yeah, well, if you can ignore the ramblings of Papa Het throughout this show because he can’t hear himself well enough, and the usual ‘Tallica slapstick routine that has become such a distraction at latter day shows, what you actually find is the band playing a range of old classics, some deeper cuts and a range of covers with some sweet steel guitar work (not from any of the band I hasten to add). Typical unnecessary input from Lars doesn’t add anything, the yapping crowd irritate massively but musically there are a few gems on here. A rare version of Bleeding Me works well whilst the BÖC cover of Veteran Of The Psychic Wars makes a change. The familiar Nothing Else Matters is routine; Enter Sandman is dirge whilst Disposable Heroes should never be played without a bank of amps and everything cranked to 11. Recorded on 3rd November 2018 at the Masonic in San Francisco for the All With My Hands Charity, this release will no doubt delight the Metallica legions who lap up everything they put out. For me, I’m afraid it’s all just a bit self-indulgent. 5/10

Downfall Of Gaia: Ethic Of Radical Finitude (Metal Blade Records) [Paul H]

Whilst I had heard of Downfall Of Gaia I was not that familiar with the band’s work. This is 40 minutes of the most incredibly crafted extreme metal you will hear. At times spine splittingly heavy, at other times melancholic and thoughtful, it is always stunningly intense. Formed in Germany in 2008, Ethic Of Radical Finitude is the follow up to the 2016 album Atrophy. The band sit very much in the same bracket as Winterfylleth, Fen, Wiegedood and Wolves In The Throne Room, with intricate acoustic passages followed by the most penetrating batteries of blistering pace and energy. The whole album bristles with energy, exploding into life with a regularity that draws sharp intakes of breath, but which also allows the listener time to breathe. Guitarist and vocalist Domink Goncalves dos Reis confirm the position: “It combines elements from our earlier releases with the path we took on Atrophy.

There are long atmospheric parts with enough time to breathe, enough time to unfold, and on the other side there are harsh and melodic blastbeats. Each song is some kind of journey, with emotional ups and downs.” With two flagship tracks forming the backbone of this release, the nine-minute plus We Pursue The Serpent Of Time and the haunting, Guided Through A Starless Night with its narrative by Nikita Kamprad from Der Weg Einer Freiheit, and eerie feedback which closes the song, this is a complex piece of work which is what fans have come to expect. Utilising clean vocals and spoken word for the first time, the band’s fifth release is another stunning piece of work which should be close to the top of the pile come the end of the year. 9/10

Ed Wynne: Shimmer Into Nature (Kscope) [Paul H]

With a career spanning over four decades, Ed Wynne is a rock maverick. A multi-instrumentalist, Wynne has led the space rockers Ozric’s Tentacles for over 30 years but has now arrived at that time when the first solo album is delivered. As his promo states, the man sits outside all mainstream concerns, in a cosmic universe where rock, electronica, world music and other genres all co-exist. What we get has Wynne’s style all over it; five lengthy tracks that shimmer and shine, fade and repeat and capture the psychedelic feel so apparent in OT. Glass Staircase opens the album, the electronics dominating without being overpowering and Wynne’s soaring guitar allowed time and space to explore which ever direction it delights in taking. Another eight-minute track follows, the similarly meandering but just as enjoyable Travel Dust, with its reggae percussion feel and psychedelic space sounds. With Wynne performing all the music (minus some very minor help on percussion from son Silas and Ex-OT members Paul Hankin and a little synth input from Tom Brooks), and producing the material, it’s an amazing piece of work, even if it isn’t your thing. 

Wynne crafted the outline of the songs whilst living high in the mountains of Colorado, hence the title and the natural organic feel to each piece of music. Hiding from the current political shit storm that is raging across the entire planet can be hard, but Wynne appears to have managed a perfect solution. “I do hide from that stuff,” he says. “I’m a bit of an escapist. Political stuff comes and goes as far as I'm concerned, and a lot of it is fairly full on. But I think I can help people by giving them a little bit of a break from that every now and then.” Ironic then that his father, David, designed the interlocking hands on the 1973 fifty-pence piece coin which commemorated the UK’s entry into the EEC! Shimmer Into Nature allows you to relax, sit back and escape. It’s not intense, it’s not gnarly and it certainly isn’t metal. A combination of a myriad of influences and styles picked up over a lifetime of following his own path, creatively it can’t be matched. With no vocals, you can let the likes of Oddplonk and Shim, with its fabulous guitarwork just enclose you in a safe space where life can be left behind. If you are looking for a refuge from the drain of humanity, lock yourself away with this release. It’ll be a trip well worth taking. 8/10

Damnation Army: Death Macabre (Self Released) [Rich]

Death Macabre is album number three from Swedish blackened death metallers Damnation Army. Not a band I am familiar with but Damnation Army have a sound that takes you back to the early 1990’s recalling the early albums by bands such as Swedish extreme metal luminaries such as Marduk, Dissection, Necrophobic and Unanimated. This is pure old school blackened death metal which means old school death metal riffage, dark melodic guitar leads and nasty tremolo riffs all combined together in this nasty package. The production is nicely rough and raw which adds to the dirty atmosphere of the album. If you like the early blackened death metal albums and the bands mentioned above then this is album is definitely worth your time. It’s not an original sounding album by any means and the style has been done better by other bands but this is still a very decent slab of nasty old school blackened death metal. 7/10

Reviews: Gast, Hermóðr, Varego, Sebastien (Paul S & Matt)

Gast: Morkret Kallar (Black Market Metal Label) [Paul S]

Gast are a 4 piece from Sweden, they formed in 2015 and Morket Kallar is their first album. The band play a fairly orthodox style of black metal, lots of harsh nasty tremolo picked riffs and blast beats. Their sound reminds me a little of British black metal band Blutvial. First track Distans starts with very aggressive blasting and fairly dissonant riffs, before slowing down a little while not loosing any of their viciousness. The track picks up speed till the end. This is a great opening, utterly savage, the production job is purposely noisy and lo fi; lovely. Avgrund has a slow, soft introduction before the harshness comes in with some nasty mid-paced black metal. There is a fair amount of layered guitars in this track, gives it a bit of a Watain feel, but maybe a little more extreme than Watain.

Next track Under Satan's Vinger (Initially I thought this was called Under Satan's Vinegar which is even weirder, I suppose Satan's Chips would be Under Satan's Vinegar), Is a blast of tremolo picked riffs and blast beats. There is a slower middle section, but with the savagery that is on display with this band, I get the feeling that any slow or soft sections are only there to make the nasty parts sound nastier. Transcendens is a short acoustic interlude, that leads us into the next track. Dar Livet Kvavs is a full on blast of a track, fast, aggressive and takes no prisoners. The track is three and a half minutes of unremitting savagery. Morgonstjarna has a mid-paced feel to it that is measured and feels a little like Avgrund. Although there is less aggression, there is a intent to this track that is no less ferocious than the blast heavy material.

 Final track Sorgens Skugga is fast and blasting, a great way to end a very aggressive and fierce album. Morkret Kallar is a great piece of nasty black metal, if you like your metal to be barbaric and in your face then you should probably give this a go, I’ve really enjoyed it. 8/10

Hermóðr: Forest Sky (Self Released) [Paul S]

Hermóðr are a one man band project from Rafn, a Swedish musician. Hermóðr have been around since 2012 and are incredibly prolific. Rafn has produced 8 albums and in my reckoning, 18 EP’s in the 7 years Hermóðr has been going. Thats a huge amount of music to produce in a very short amount of time. I’ve been aware of this band for quite a long time, but have never actually heard anything by this project until this album arrived in my Dropbox folder, so I was very interested in what this album had in store for me. The music on Winter Sky would broadly fit into a black metal template, but simply referring to this as black metal would be selling it short, this is a far more complex beast than that. Although black metal is the right ballpark (and atmospheric black metal would be even more accurate), there is also a slight Pagan metal aspect to this, and also a post black metal sense as well. 

There are parts of this album where it feels like a black metal band playing doom, as a lot of the pacing and tempo is more in a doom style. Clearly Hermóðr are a band that don’t really fit in with easy pigeonholing, and that is wonderful. The album begins with the track Winter Storm, a slow, beautiful piece of post black metal, there are elements of Alcest in the pacing and mood. The vocals, although harsh and very traditionally black metal, are quite low in the mix and are handled with delicacy and nuance so they never feel like they are intruding on the melodic grace of the track. The next track is My Reflexion In The Ice. After a short acoustic introduction the heavy layered guitars come in, and although we are in a more aggressive place, it is no less exquisite. There is a little similarity with some of Agalloch’s softer, less blasting material. There is a hypnotic quality to a lot of the material on this album, and this track has that in abundance. Near the end of the song there are some clean, gentle, layered vocals, which again feel a little like Alcest. Next up is Echoes In The Woods, a slow, measured song. 

The track has tremolo picked riffs, which are just exquisite. There is an unstoppable and hypnotic feeling with this song, once the melody gets into your head, it’s there for days. The Falls starts with a very simple riff that is repeated, and slowly builds as more layers are added. There is a middle section that is a little melancholic, before the simple riff returns and in comparison to the melancholia feels uplifting and positive. Northern Forest is a little more doom like, a soft acoustic intro that then keeps the same tune but becomes a distorted riff, this then morphs into a sad little doom riff, before the opening riff returns at the end. Follow The Water is the shortest track on the album, it is mid-paced, tuneful and hypnotic. Hunter And Pray is probably the fastest track on the album. Once the main riff kicks in the song powers along with a very pleasing tempo and a main riff that reminds me of some of Kampfar’s older material, but maybe a little less aggressive or heavy as Kampfar. 

Burial Mound is Mid-paced, Melancholic and feels cathartic. Title track Forest Sky has a great melodic centre and feels positive and expansive, again there is the similarity with some of Alcest’s material. The album finishes with Tales Of The Forgotten, which has a slightly more driving rhythm than the rest of the album. The song has that hypnotic feel that is present on a lot of the album. The song also boasts a Mouth Harp as a rhythmic device, and has a great tune that gets stuck in your head. Forest Sky, is a stunning album. I’ve loved listening to it, and will now be buying the whole Hermóðr back catalogue, my ignorance of this band has to end! If you like atmospheric black metal, post black metal, pagan metal doom or just like really well written music then you should definitely check this out. Sublime. 9 /10

Varego: I Prophetic (Argonauta Records) [Paul S]

Varego are a four piece based in Italy. They have been going since 2012 and I Prophetic is their fourth album. This album comes 3 years after their last album Epoch. We get under way with an introduction on piano called Origin, before the first track proper kicks in. The Abstract Corpse is a cracking piece of 6:8 tempo doom, most of the song is quite up pacy with a slower heavier section in the middle. The vocals have quite a lot of reverb on them and sound a little like Ozzy, but also a little like Perry Farrell. Title track I Prophetic starts with a classic metal riff, that is slow and crushingly heavy. The track is huge and this is emphasised by some very heavily processed vocals that give the song a psychedelic feel, something that runs through the whole album. Of Dust is quicker than the track that preceded it, the riff sounds a little like Pentagram. The song has a softer, more psychedelic ending. Silent Giants has a softer opening, but with a brooding, slightly threatening feeling about it. The track builds and builds until it becomes a huge piece of sludge, again the vocals have a lot of effects on them, which just adds to the hugeness. 

When The Wolves Howl is the fastest track on the album, and has a slightly punky feel to it, but also nods towards a more traditional metal style. The track pounds the listener into submission and constantly drives forward, less psychedelic, with more direct vocals, with less effects. Dualist is a much slower song, it also has a much more relaxed tempo. The song has a great fat, lazy riff at it’s core that is a nice change of pace, whilst not seeming out of place. The vocals are very well done and the song even has a lovely bluesy solo, which fits well with the track. Final track Zodiac is a fast, aggressive track that has a pounding drum beat and a great riff driving it on. There is a slight punky feel that makes this a little more sludgy than some of the other material on here. The psychedelia returns for the end of the song, as it slows down for a slightly softer end to the album. I prophetic is a great album. It’s varied and interesting, enough alternative elements to stop anything becoming boring or staid. If you like your doom to be a little left of centre then you should definitely check this out! 8/10
Sebastien: Behind The World (Pride & Joy Music) [Matt]

Off the back of their third album Act Of Creation Czech metal band Sebastien have brought this four track EP which hopefully means they are on their way to a fourth full length. The power metal influences of their previous albums seems to have dissipated bringing a huge dose of AOR/Melodic Metal that wasn't there before. Fight For Love is track most far removed with pulsing synths, throughout and the vocals of Yannis Papadopoulos while Mirror On The Wall is almost pop rock. If this is the sound of Sebastien to come then I for one welcome it, however if this is just a one shot deal to release some songs that wouldn't fit then I can appreciate that too. Personally I'd prefer the former as the symphonic power metal can only get you so far so it's great to hear them trying to differ their sound. 7/10

Reviews: Dunkelnacht, Incite, Windswept, Continuum (Paul H & Sean)

Dunkelnacht: Empires Of Mediocracy (Non Serviam Records)

I was looking forward to this release ever since drummer Tegaarst contacted me a few months ago via social media. Dunkelnacht is a collaboration between French and Dutch but was initially a one-man project. When Heimdall was joined by bassist Alkhemohr in 2007 this changed, and the band morphed into a real blackened death metal band. With two albums and an EP already under their belts, Empires Of Mediocracy is the product of a settled line-up and it is an enormously impressive piece of work. With influences from across the black and death metal spectrum, the album is a rich tapestry of pummeling riffs, slicing guitar work and haunting atmospherics. The melodies are understated but undeniably present; hell, there’s even a gothic new wave feel to Eerie Horrendous Obsession. As well as various avantgarde sources, the band draw deeply from the pool of Scandinavian black metal and the Polish extreme scene. But there is no copycat performance here, with some unique and beguiling sounds which capture the listener’s attention.

They derive influences from Polish extreme metal, Scandinavian black metal, and even classical and various avantgarde sources. However, Dunkelnacht also introduce much of their own style; opener Relentless Compendium case in point with some curve ball time changes and shrieking brass as well as the more expected tremolo picking and drum battery. There is a satisfying wall of sound throughout, guttural throat scorching vocals spew forth from vocalist M.C. Abagor and some massive riffs emerge throughout this beast of a release. At times almost soaring black metal, at others dust chewing death metal, this is thoroughly enjoyable. With a content based on the concept of total supremacy, there is some thought provocation as well. The band are playing a select few dates in February in London, Bristol, Banbury and Swansea. It will certainly be my intention to get to one of them. You should too. 8/10

Incite: Built To Destroy (MinusHead Records)

I saw Incite many moons ago, unsurprisingly supporting Soulfly at the O2 Academy in Bristol. The band led by Richie Cavalera weren’t bad and warmed the sparsely populated venue up a treat. Suffice to say I don’t recall much else or following their career in any detail since. We’ve not covered any of their music here previously either. But here comes album number five, 37 minutes of rampaging crushing groove metal which hits hard, follows up harder and then kicks you once more. With the guest slots filled by original Cannibal Corpse vocalist Chris Barnes and Crowbar main man Kirk Windstein (just immense on Human Cancer), there is certainly some heft here in a relentless onslaught that just doesn’t stop. Writing this with a heavy chest infection, I was exhausted just from listening to the pulverising and unyielding assault that flies out of the speakers. Built To Destroy is an album that is designed to be anthemic, all air punching and moshing. With one ear thinking that this is better Devildriver, Incite should excite at Bloodstock this year. 7/10

Windswept: The Onlooker (Season Of Mist Underground Artists)

A tinkling music box, its worn motor driving out distorted strains of an old tune, crackles slowly into life. A sweet, child-like sound. Suddenly it is ripped to shreds as blistering blast beats and savage riffs vomit violently forth, enveloping all around with the high intensity battery of typical black metal at its fastest. This is Windswept, the outfit formed by Drudkh mastermind Roman Sayenko in cooperation with two of his fellow band members. The Onlooker is album number two from a band that refuses to give interviews, play live or provide pictures. Mysterious, sinister and maybe just a little fabricated? With a raw and authentic live feel to their sound, Windswept don’t stray far from their roots which means flat out breathless black metal with repetition and increased tempo the order of the day. The songs are dripping in atmospheric imagery, building rapidly and providing another creative outlet. Inspired by similar cold and harsh realities as debut album The Great Cold Steppe, crafted in a matter of days in the studio, this is Ukrainian black metal at its most raw. Ferocious stuff. 7/10

Continuum: Designed Obsolescence (Unique Leader Records) [Sean]

Tech bloody tech, a polarising beast. For some, its super widly and complex nature is the main draw, the be all and end all. For others? Super cookie cutter, devoid of passion and boring. For myself, I’ve got quite the soft spot for this often polarising genre, especially for those that can induce a transcendental experience via obscene fret dexterity. Lost Soul, Ulcerate, Anata and Irreversible Mechanism scratch that muso itch something fierce, especially when the order of the day calls for something more than Ross Bay Cult worship. But if there’s only technical flair for technical flairs sake, the whole thing comes across as vapid and devoid of any feeling whatsoever. Which brings us to Supergroup Continuum and their second release, Designed Obsolescence. Par Oloffson cover? Check. Science/technological lyrical themes? Check. Obviously signed to Unique Leader Double fucking check (RIP Erik Lindmark). With all bases covered, will Designed Obsolescence scratch that old itch? Or will Continuum themselves be rendered obsolete? Let’s have gander then, aye?

Theorem wastes no time and we’re greeted with all manner of staccato riffing, pentatonic patterns and blast beats. Tighter than a nun’s neither regions, as one would expect. The slower, more deliberate tempo allow the riffs some clarity, aided by a pristine production. Release From Flesh and Blood continues this, employing a more melodic approach before falling back to palm muting shenanigans. Title track, Designed Obsolescence really kick things into higher gear, haunting leads providing some much needed diversity and texture amongst the relentlessly shifting riff patterns. The introduction of synths is also very welcome, melody and technicality working together seamlessly, giving the dexterous fretwork some proper context and flow within the song. All Manner Of Decay is a measured beast, whose more focused structure makes the whole thing feel more meaningful.

Autonomic is a catchy number, showing more variation and displaying the more playful side of Continuum. Honestly, its far more enjoyable when Continuum cease their bullrush and allow for things to set in, even if its for the briefest of seconds. It makes those moments MATTER. Remnants Of Ascension is surprisingly monotonous which is odd, given that it’s only 2 minutes in length. Closer Repeating Actions is solid enough, but just comes off a touch contrived and a wee bit aimless. Look, this is not a bad album. The level of musicianship displayed here is undeniably high, no notes out of place and delivered by individuals who have mastered their respective craft. It’s tight, precise and very complex. I understand what is being played, appreciative of the level of skill taken to produce such a work. On a technical level and academic level, can’t fault it. BUT on a personal level? It’s…….ok? Because everything is set to 11, the lack any real slowdown or variation hinders Designed Obsolescence.

So much energy is being expended that it burns itself out, reducing what should be exciting and impactful into a bland riff salad. There’s no real trough but also no real highlight, it’s just……there. Unfocused, sprinting to the next section with not a lot tying it together (though that drummer is tight AF). Shame really, as the title track, Autonomic and All Manner Of Decay are fucking monsters. It feels like a greater intellect is guiding the more nuanced of the compositions, as opposed to a soulless automaton belching out endless strings of code. It burns me that I couldn’t enjoy this more, because Continuum can sure as shit play. Oh well, I guess it just isn’t for me. Bottom line? If all thing tech really (and I mean, really) simulate your basest desires, then give this a bash. 6/10

Reviews: Vomitory, Noctambulist, Volcano, Antre (Paul S)

Vomitory: Redemption (Fadeless Records)

Vomitory have been going since 1989, back when their brand of old school death metal was just known as death metal. There have been several lineup changes over the years, but have had a stable lineup since 2005. The band went on hiatus in 2013, but now they are back with a new album. The album kicks off with The Voyage, the song starts with a blast beat that shows these Swedes are not messing about. The track then goes into a beautifully fast and flowing old school riff that reminds you why death metal was so exciting in 1990. The track does have slower parts to it, and when they come they are soaked in Tri-tones. There is a similarity with other classic old school Swedish bands like Dismember and Entombed, and there is also a little of the Floridian sound in here, maybe a little like Massacre’s early material. But, having said all that, Vomitory definitely have their own sound, and considering how long the band have been going, it might have been Vomitory doing the influencing.

Second track Forty Seconds Bloodbath (I was slightly disappointed that this track is 3 minutes forty eight seconds long) is a blast of a song, fast simple riff and a drumming pattern that has so much velocity and inertia to it, it could set land speed records. The track also boasts a brilliantly musical harmony solo. Forever In Gloom is a massively fast shock wave of a song, there is a slow middle section for the listener to get their breath back, before you are tipped back into the maelstrom of blasting death metal. Heaps Of Blood is a mid-paced piece of death metal fury. The main riff has a slight punky feel to it. The song is a nice change of pace (small change of pace, but a change of pace nevertheless), and batters the listener in a slightly different way to the rest of the album. Embraced By Pain starts with those nasty little tri-tones, before going into some beautifully flowing, syncopated old school death metal. Title track Redemption has a battering opening, before slowing down for some devastatingly crushing riffs. 

The track then kicks off into more really rapid death metal. Ashes Of Mourning has a huge opening, before going into some quite thrashy riffing, maybe a little reminiscent of early Obituary, and a nice little solo as well. Final track Partly Dead is a subtle, lilting ballad, no I’m joking of course it isn’t, it’s a blast of old school nastiness. What else could finish this cracking album! Redemption is a great album. Old school through and through, but done so well, Vomitory are clearly masters of this style. The album is great fun, I’ve really enjoyed it. The version of the album I’ve got has 5 bonus track that are very good as well, so it’s really good value as well. If you like old school death metal, you need this album in your life! 8/10

Noctambulist: Atmospheres Of Desolation (Blood Harvest Records)

Noctambulist are a 4 piece based in Denver. The band have been going since 2016 and this is their first album. The basic sound on this album is dense, dissonant death metal in a similar style to Nile or possibly Dying Fetus, but the band that they sound most like is Behemoth when they were producing dense, dissonant technical death metal. The sound that they perfected on Evangelion, before Nurgal saw how well Watain were doing making commercial black metal, and turned Behemoth into the most plastic of plastic black metal bands. The album starts with an intro track Dimming Lights Illuminate which is dissonant guitars with shouted vocalisations. Abnegation drops the listener strait into blasting guitars and drums. Dense, harsh guitar riffs and some very impressive drumming, batter you into submission. There is a slower, softer section in the middle, but it doesn’t hang around for long, before the swirling maelstrom of riffs and thundering drums crashes back in. Next track Atmospheres Of Desolation has a very similar feel and structure as the song that came before it. 

Opening with blasting, till a softer middle section, and then blasting till the end again. Jubilant Cataclysm is a slightly different beast to the two track that preceded it. The start is more measured, the tempo is slower and the riffs are less dense, but considerably more dissonant. The most impressive part of this track is the drumming, which is incredibly intricate and complex. Denial Of Autonomy is back to the template set on Abnegation and Atmospheres Of Desolation. Blasting - Dissonant slower middle section - Blasting, it’s something the band is very good at, and they seem to know where their strengths lie. Final track Habitual Falsehood has a long slow build up before going into some very fast and aggressive blasting, crashing blast beats, with close packed riffs. The ending of the song, and the album is slower and more measured. Atmospheres Of Desolation has some great material on it. If you’ve been missing Behemoths death metal style, then this could be for you. Although the material is of a very high quality, there is one slight problem with this album; it’s really short.

The whole album is 28 minutes long, with an intro track, and at least 1 song has a long intro. So you get about 23 minutes of music, which I think is more of a EP than a album. The whole time I’ve been listening to this album, I’ve been assuming it was an EP, so I was a little shocked when I found out the band and their record company were calling it an album. It is good, but it’s also short, have a listen before buying, if you’re not that keen on it, you might not be happy with how much music you get for your money. 7/10

Volcano: The Island (TeePee Records)

Volcano are a 5 piece based in San Diego, they have been going since 2017 and The Island is their first album. There are several different bands called Volcano, but these guys will stand out as they have a very unique sound. Most of the material is sixties style psychedelic rock, mixed with lots of Afro-beat style drums and percussion. The heavy percussive sound works well with the psychedelic rock, there was a lot of that sort of influence in sixties rock, a lot of latino music is very rhythmic and that was a big influence on the late sixties rock scene. In addition to the standard drum kit (snare, bass, toms and cymbals), I’ve noticed these instruments: Djembes, Bongos, Claves, Guiro Tone Blocks, Shakers, Ganzas, and Rainsticks and I am in no way an expert in percussion. This is a very rhythmic album. There is a similarity to a lot of late sixties bands like The Allman Brothers, The Doors, The Grateful Dead, Santana, Captain Beefheart, and some of Frank Zappa’s sixties output (although not his later work). 

The album gets underway with Naked Pray, a great piece of psychedelic rock. The riffs are full of energy, most of the riffs on this album are actually played on Hammond Organ rather than guitar. There is lots of guitar on this album, but it is more of a soloing instrument. This shouldn’t worry you, the hammond organ is a great instrument to riff on, it can be just a choppy and rhythmic as a guitar. The vocals on here are mainly spoken rather than sung, and the chorus (there are some great choruses on this album) are chanted gang vocals. The song has some very long solo’s on guitar and on hammond, both are great; tuneful and engaging, so they never get stale or feel like they have outstayed their welcome. The island starts with a simple guitar lick before the funky percussion comes in and then launches another cracking hammond riff. The track has a slightly lighter, feel to the first track, but with all the tracks on this album, it has a great groove to it, I could happily dance the night away to this band! No Evil, Know Demon starts with a fantastic hammond riff, before a heavily wah-wah’d guitar gives us the word on the street. Again we get a brilliant hammond part to drive the song along.

There are lots of interesting percussive elements in this song as well. The track has a interesting spoken vocal part, and a great chorus that is chanted in a call and response style, which I have found impossible to not sing along to. The track also boasts more great solos from the guitar and hammond. Most of all this song is fun, as is the rest of the album, but man this is a joyful, vibrant track, it’s difficult to feel sad whilst listening to it. Eruption is a 1 minute interlude of percussion, hammond and guitar noise which is really an intro to the next track. Skewered has a slightly different feel to the rest of the album. There is a big harmonica riff going through a lot of the song, also this is a song that has percussion at it’s core. The other instruments take a back seat to the huge amount of percussion. There are places where this track reminds me of LA Woman by The Doors. The album is brought to an end by the song 10000 Screaming Souls which is a fantastically tight piece of psychedelic rock that is a little reminiscent of some of the material on Frank Zappa’s masterpiece Hot Rats. The vocals on the verse section remind me a little of the verse section on Road To Nowhere by Talking Heads. 

The track boasts a huge chorus with many, many voices on it. There is also a very impressive solo / instrumental section which makes this a brilliant track to end the album. The Island is an odd, strange album. But it pulls off odd so well, I wish all albums were as odd as this! There is a similarity with the Here Lies Man album that I reviewed last year; although I think this is a better realised album. The song structures are better, and the band have embraced the slightly unhinged attitude that Zappa and Captain Beefheart did so well. The album has a sense of humour, and feels like a big, funny, deranged, delight of an album. It feels life affirming and positive. Mad, but in the best way possible. Beautifully Bonkers. 8/10

Antre: Void (Self Released)

Antre are a black metal band hailing from Nottingham who formed in 2017, Void is their first album. The five piece take their name from the old english word for a cave or cavern. So, what have Antre got for us on their first attempt at a full length? First track Suffer The Light has a slow build up before crashing into some very good blasting tremolo picked black metal. The feel is quite second wave, with maybe a little atmospheric black metal nuance and subtle shading. Imagine Wolves In The Throne Room playing 1349 or Tsjuder tracks, and you are getting quite close. The song also has a fairly discordant slower section to it that is handled very well. Fear The Old Blood is a cracking bit of savage black metal, there is a slight hardcore feel to some of the riffing, and a slower part with shouted vocals. Despite the viciousness and ferocity of the riffing there is an innate musicality and tunefulness to most of the material on here. Denisovan is a short acoustic guitar interlude, a brief palette cleanser before the nastiness restarts. Into Oblivion opens with a blast beat before going into a more mid-paced tempo, the track has a relentless and unstoppable sense that is very pleasing, as is a softer section that has very anguished spoken word vocals. 

Tyrant is a very nasty piece of work, and uses some interesting rhythmic devices to enhance the nastiness, slightly wrong footing the listener. Guided By Nightmares has a slow intro before mid-paced blasting. The track has an unrelenting, trance inducing feel that I really enjoyed. The track has a slow ending that is still deeply offensive, but gives the track a little change of pace. The Frozen Deep is another acoustic interlude. Infinite Abyss blasts strait out of the acoustic track that preceded it, making it nastier by comparison. The track is very aggressive, with viscous vocals and some fantastic blasting. It slows down near the end, but without losing any intensity. Final song Beyond The Skies is the longest track on the album, and starts in a loose, melodic way that I thought was a little reminiscent of British black metal band Wode. The track then goes into a faster and harder section that although savage, is a little more controlled than the material that has come before it. The song has a little more melody than the other songs. 

The last quarter of the song is much slower but with definite intent. Void is a great Black Metal album. It’s viscous and savage, blasting and intense, but it is also melodic, tuneful, nuanced and subtle. It contains an inherent tunefulness, that cuts through all the brutality; this is brutal black metal that contains riffs that get into your head, that you can’t help humming. Antre are a fantastic addition to Britons black metal scene, for a first album Void is stunning! 8/10

A View From The Back Of The Room: King King

King King & Sari Schorr, Tramshed Cardiff

Walking into the Tramshed in Cardiff is always a pleasant experience especially when it's to see a band who have been treading the boards for 10 years now and are heralded as one of the best live acts around. With most of the crowd still on a high from the previous evenings Thunder show in St Davids Hall, it was the amount of t-shirts that told the story, another hearty dose of rock blues n roll was what was needed albeit this time firmly plugged in, a stark comparison to the previous evenings more laid back shenanigans.

As we arrived in the Tramshed the support act, Brooklyn native Sari Schorr (7) had kicked off the evening with some feisty, vivacious blues rock n roll as she opened with The New Revolution commanding the stage getting lost in her own world as her top notch band cranked out the blues jams sometimes swinging her hair so much that she almost crashed into her guitarist and bassist respectively. The set was drawn from her most recent album mainly with a couple of covers thrown in the most well known being Ready For Love by Bad Company which was a pretty faithful recreation getting the older crowd going with something they knew well. Sari's voice is brilliant, soulful with the right amount of grit perfect for the blues music she clearly dedicates herself too. Some would say an ideal appetizer to the headline act a Sari Schorr show in a smaller, intimate venue where they can all really let rip would be a thing to behold.

The room filled more after the obligatory smoke/loo/bar break and the headliners took to the stage as AC/DC blared out of the PA. Already getting the crowd involved from the off, the kilted Alan Nimmo kicked into Broken using strutting riffs and his hard rock bluesy vocals to kick the set off properly. This was the first song of the night and already the partisan crowd were singing every word of the bands hard rock undercut with heavy dose of the blues. Nimmo's guitar playing and vocals were on point, especially when you consider the issues he's had with his throat in the past. This was the bands tenth anniversary tour and it was both a celebration and farewell, the band have moved onto bigger and better things for the future which has unfortunately meant that this would be the final tour for founder member/bassist Lindsey Coulson, he cuts a well dressed, cool figure at the side of the stage providing the anchor for all of the songs played, allowing Nimmo and John Dyke to duel with guitar and keys, while also keeping Wayne Proctor nice and steady behind the kit.

Tracks such as Lose Control, the funky Rush Hour, the blues exploration of Stranger To Love got the rockers on side while they dipped into the other facets of their sound with the poppy Coming Home (Rest Your Eyes) which carries more than a whiff of Phil Collins. The Cardiff choir was in full voice, probably warmed up due to Thunder or the rugby singing Rush Hour with so much gusto that Nimmo didn't bother to finish the song letting the Tramshed do the work. I've heard numerous times that King King (8) are one of the best live bands around and you can see why people would think that, their smooth Bad Company meets Thunder grooves are written for the Planet Rock demographic who enjoyed every minute of it, personally I did think they are a little safe, but I'm in the minority clearly. I must admit I love a bit of blues rock myself and King King were up there with the best. It will be interesting whether they stick to their blues past or move forward with the hooky rock style now they are entering the next phase of their career.    

Reviews: Beast In Black, Gathering Of Kings, Heavy Feather, Ifreann (Matt, Paul H & Paul S)

Beast In Black: From Hell With Love (Nuclear Blast) [Matt]

Beast In Black return with their second album, the band was formed by Anton Kabanen after he left Battle Beast, on the back of their impressive debut Berserker they now come back after numerous tours with Rhapsody, Nightwish and many summer festivals. From Hell With Love written in secret while on the road, drawing from the Anime's Beserk and Fist Of The North Star along with personal experience. It's got that brilliant mix of melodic and heavy sounds that Kabanen started on Battle Beast, showing the bands knack of playing with the fist pumping mid-paced stompers like This Is War, while also letting rip on the classic power metal sound on Cry Out For A Hero and the exploding No Surrender.

They also add some 80's style synth for the thumping title track, the pumping AOR of Sweet True Lies, Die By The Blade and Heart Of Steel. The album thunders along in the normal Beast In Black style the melodic power metal riffs and Yannis Papadopoulos using his brilliant high pitched vocals to great effect. The record only slows down for Oceandeep which is a flute backed ballad in the middle of the record before Unlimited Sin brings back the extravagant metal that Beast In Black languish in. Back with bang the beast returns hungrier than before! 8/10

Gathering Of Kings: First Mission (AOR Heaven) [Matt]

Back in 1984 record producer Tom Galley and his brother Whitesnake guitarist Mel Galley founded the Phenomena project, the idea was to create a project that had contributors from leading rock musicians such as Glenn Hughes, Brian May, and John Wetton. Gathering Of Kings is a project made in the same vein all the songs are written by Victor Olsson and overseen by producer
Thomas "Plec" Johansson (Watain, Scar Symmetry, Soilwork, The Night Flight Orchestra, Nocturnal Rites), except for The Runaway, which was written by Maurice Gibb & Robin Gibb from Bee Gees.

It's a stunning piece of melodic rock mastery which features some of the most accomplished musicians contributing, on drums there is Jonas Källsbäck (The Night Flight Orchestra), Efraim Larsson (Streamline, ex-Diamond Dawn, ex-Art Nation) and Robban Bäck (Mustasch, W.E.T, ex-Eclipse) who lock in with bassist Nalle Påhlsson (Therion, ex-Treat). The melodies float and grab you as the keys from Richard Larsson (The Night Flight Orchestra), Chris Laney (Pretty Maids) and Erik Wiss (Cap Outrun) round out the guitars of Victor Olsson (Saffire), Erik Mårtensson (Eclipse, W.E.T), Stefan Helleblad (Within Temptation, Jono), Martin Sweet (Crashdïet, Sister).

As you can see just the instrumental parts have some serious names playing them so it means tracks such as Love Will Stay Alive and Out Of My Life, which sounds like Turn it On Again by Genesis). Of course there are some saccharine songs like Saviour and the poppy Long Way From Home, each song has its own unique voice because it literally has its own voice with vocalists such as Apollo Papathanasio (Spiritual Beggars, Firewind), Tobias Jansson (Saffire), Björn Strid (Soilwork, The Night Flight Orchestra), Rick Altzi (Masterplan, At Vance, Herman Frank), Jens Westin (Corroded) and Alexander Frisborg (Helldog) all commanding the mic on their individual songs. Some of the best musicians around playing high quality melodic music? Do yourself a favour and jump on board the First Mission. 8/10

Heavy Feather: Debris & Rubble (The Sign Records) [Paul H]

Imagine Free but with a mutation of Elin Larsson from Blues Pills and Jenni-Anne Smith from Avatarium doing the up-front stuff. Got your attention? Thought so. This 11-track album, which I think is their debut, channels not only Free but the essence of many more of the late 60s and early 70s rock sound. There are bits of Cream, The Yardbirds, Skynyrd and Zeppelin all wrapped up and hidden in this album. Most of the songs are relatively short, with the tub-thumping likes of Where Did We Go and Higher balanced by the longer emotion soaked Southern influenced Tell Me Your Tale, where vocalist Lisa Lystam really shows her quality. The musicianship is first class throughout, with an organic evolving style. It’s certainly better than many of the 1970s style bands around; White Feather are most impressive, and this is one pleasingly enjoyable release. 8/10

Ifreann: Unearthly (Self Released) [Paul S]

Ifreann hail from Edinburgh, the 5 piece have been going since 2015 and Unearthly is their first EP, it is 4 songs coming in at 18 minutes. So, what have they managed to produce as a first go? Mirror Of Sanity blasts off with a cracking piece of thrash. Clearly influenced by classic eighties thrash like Exodus, Testament and Overkill, but also similar to some more modern thrash bands like Gama Bomb or Havoc. The track is fast, but very tuneful with some really great riffs and a storming solo, and good vocals, really, really good vocals. Next up is the song Unearthing The Unearthly, which is another great fast, high energy song. The track is a little reminiscent of the last 2 or 3 Kreator albums; lots of energy and drive, but dripping with melody and tunefulness.

Next up is No Pasaran, which has a slightly slower feel to it, but makes up for it with a relentless feel, and again great vocals. The riffs are really well written, powerful, pounding and heavy as fuck. The final track is (as is traditional with trash albums) the fastest track on the album. An absolute blast of fast thrash riffs, ripping solos, screaming vocals and thundering drums. This is genuinely one of the best thrash songs I’ve heard in a very long time. Unearthly is a brilliant EP. Fast, flowing, heavy, visceral and full of energy. If this is their first recording, then they have a huge future ahead of them. If they can record an album of the same quality as this EP, then it will be a massive hit, I’m salivating just thinking about it. 8/10

Reviews: Minors, Kadinja, Ambrotos, Resurgence (Paul S & Paul H)

Minors: Abject Bodies (Holy Roar Records) [Paul S]

Canadian four piece Minors have been going since 2012, Abject Bodies is their second album coming 2 years after their debut; Atrophy. Atrophy was a very well received album, and the band have cultivated a reputation for being a formidable live band, so how have they done with the ‘difficult’ second album? Well……

The album opens with a short instrumental/intro track called Abject Bodies. This starts with a blast of feedback, before a hugely heavy riff crashes in and batters the listener. Second track Consumed bursts out of the end of Abject Bodies, and we are in fast aggressive hardcore territory, and it’s beautifully angry and in your face. The track ends with a heavy as anything sludge, which loses the speed, but keeps the anger. Meanderist is another fast piece of very fast hardcore, in places on this album the fast hardcore is verging on grindcore. The track has a slower, more discordant ending, which is particularly nasty. Flesh Prison is a beautifully well balanced mix of fast and sickeningly slow. The slow parts have a groove the size of a planet, and the fast parts are quite punky and pretty unhinged. Boneyard is another fast one with a punky feel to it, if this was a little faster we’d be calling this a grind album. The second half of the track is a little slower and has a relentless quality to it. The track ends in feedback, which then runs into the next track Erode.

Erode is a massive slab of sludge. It is slow but again with a huge groove to it that will definitely have you banging your head. Although slow, this song does have a brooding menace to it that is incredibly powerful. Final Track Garden Of Dismalism is another slow and heavy sludgy track. It does have a couple of quieter moments in it, but if anything, it just makes the heavy parts feel heavier. The track keeps to the same tempo most of the way through, but slowly increases the intensity, getting more and more fervent, bigger and bigger until the end of the track, where it batters the listener into submission; which is a great way to end the album. ‘Difficult’ second album? Naa, Minors have had no difficulty here. They have produced an excellent piece of sludgy hardcore. Fast and viscous, slow and powerful, and really satisfying, Abject Bodies is a fantastic album, from a band who seem to be excelling themselves at the moment. Fantastic album! 8/10

Kadinja: Super 90 (Arising Empire) [Paul H]

Badged as progressive metal, which is what all Djent bands appear to describe themselves as these days, Kadinja hail from Paris and were most recently seen on tour with VOLA and Monuments. They blend technical excellence with clean soaring vocals, huge breakdowns and multiple time changes and a controlled aggression which simmers throughout and when it erupts it is certainly an explosion of volcanic proportions. It’s not all clean vocals with some much more forced shouting style adding weight to the tracks.

Thick sounds emerge from the opening track Empire, whilst there is reference to countrymen Gojira on From The Inside amongst other tracks. Of course, it is the godfathers of chaos, Meshuggah who are always close to the lips when you hear bands of this calibre, and the choppy guitar work and vibrant bass lines certainly draw some comparisons. However, at other times, the harmonies are much gentler and stray much closer to bands such as Tesseract. I certainly found this album enjoyable to listen to, something that I rarely experience with this style of progressive rock. I suspect if you enjoy bands that use as many strings as you have fingers, this will be a real joy. 7/10

Ambrotos: Cosmic Annulus (Sleaszy Rider Records) [Paul S]

Ambrotos are a three piece from Greece. They formed in 2017 and have only released one EP before this one. That EP came out last year, and as its title is written in Greek script, I can’t tell you what it was called. The EP has 3 tracks of broadly orthodox black metal. The EP kicks off with the track Oracle Veracities, a battering mix of viscous tremolo picked riffs and blast beats. Musically we are in similar territory to Marduk, 1349 or Tsjuder, we also get some rather effective chanting as well.

Title track Cosmic Annulus, is a blast of tremolo picking that keeps the same tempo throughout, giving the song a relentless quality that reminded me of Von a little. Final song Vortical is a mix of blasting tremolo picked riffs with softer, brooding quieter passages with a spoken word part to it. The track manages to be brooding and viscous at the same time, which gives it a very atmospheric quality. Cosmic Annulus is a great EP, great songs, well played. The production job is a little noisy in places, but this is an EP, so you have to expect that. An enjoyable piece of black metal orthodoxy, time to record an album now I think. 7/10

Resurgence: Voices (Self Released) [Paul H]

Voices is the debut release by the Australian band based in Grafton and Coffs Harbour, New South Wales (NSW) and it’s another interesting release. The album clocks in at 42 minutes in length and contains a range of styles, from the Metallica edged Astrotraveller through to the punk pomp of Punkwave, which is reminiscent of early Green Day. Plenty of enthusiasm and emotion allows the album to power on without losing the attention. By the time you arrive at Rock Island you are wondering what will come next, and this is a Motley Crüe fist pumper, albeit with a bit more clout than many of the LA glamsters musical output. 

If you think that Australian metal sounds like Airborne, AC/DC and Rose Tattoo then Voices is certainly an album that should help change those opinions. With lyrics that focus on the rise and fall of Punk or dealing with depression, anxiety and knowing what the story is inside your head, there’s also plenty to get more involved with here. Resurgence is Joshua Ratcliff – vocals; Nick Townsend – drums; Giovanni Demasi – bass; Vincent Chaber – guitar and Jason Mowle – guitar. 6/10