Anaal Nathrakh, Akercocke & Agrona, Thekla, Bristol
Sundays are generally seen as a day of rest but peace, quiet and restfulness was the last thing you would find in Bristol on this Sunday evening as a trio of UK extremity hit the Thekla. This promised to be a truly vicious evening of music.
Stepping in as a last minute replacement for Burning Vow who had to drop off the bill were South Wales blackened metal horde Agrona (7). I have followed these guys since their inception so I was hugely happy for them that they had managed to bag this support slot being one of the biggest shows they have played to date with a lot of new fans to win over. Unfortunately it seemed that sound issues were going to work against them during their set. Kicking off with I Chose To Burn the guitars were virtually inaudible though as the set progressed adjustments were made and by the time the band were halfway through their set all instruments were audible. The audience did not seem put off by the sound issues as a large crowd amassed in front of the stage and banged their heads along to set staples such as Immaterium, Storm’s End and Summoning The Void.
The first of the evenings co-headliners were London extreme progressive metallers Akercocke (8). Much like Agrona as they started their set the sound was very poor and muddy and much of the drums inaudible apart from the kick drums. The band soldiered on through and the sound vastly improved as the set progressed. Unfortunately frontman Jason Mendonca was unable to perform vocals so the harsh vocals were provided by guest vocalist Sammy Unwin from Employed To Serve whilst clean vocals were provided by keyboard player Sam Loynes and both put in superb performances. This was a very old school leaning set. Latest album Renaissance In Extremis was represented by Disappear and Unbound By Sin but the biggest cheers were for songs such as Horns Of Baphomet, Verdelet, Son Of The Morning, Enraptured By Evil and a very rare outing of Valley Of The Crucified. Whilst it took a couple of songs for the audience to warm up to them soon there was a massive pit and the expected carnage of an Akercocke set.
The final band of the evening were the mighty lords of terror Anaal Nathrakh (7). Anaal Nathrakh kept up the trend of the evening by having absolutely dreadful sound to start with. The sound did also improve for them and whilst it was not particularly good throughout the whole set it was acceptable. The band delivered their unmistakable brand of black metal, grindcore and noisy terror ripping the faces of the audience away with displays of aural carnage such as Obscene As Cancer, Depravity Favours The Bold, Hold Your Children Close And Pray For Oblivion, Forward and Forging Towards The Sunset. The Nathrakh faithful sent out their gnarled screams of approval to older cuts from the discography such as In The Constellation Of The Black Widow, Bellum Omnium Contra Omnes, Between Shit And Piss We Are Born and fan favourite Do Not Speak. The band put in a furious performance with the deranged screams of frontman Dave Hunt being always enjoyable though his clean vocals were very strained throughout the whole set.
This was an astonishingly good line up with two grizzled veterans of the UK extreme metal scene and an up and coming act all laying waste and smashing faces with their performances but sadly all were let down by the poor sound in the venue. No fault of the bands but either an issue with the venue itself or the sound technician.
Thursday, 4 April 2019
Reviews: Lik, AntropomorphiA, None, Hypnotic Nausea (Paul S, Paul H & Mark)
Lik: Mass Funeral Evocation (Metal Blade Records) [Paul H]
Their name means Corpse in Swedish, but the blistering death metal which the Stockholm trio produce is anything but stiff rigidity. Mass Funeral Evocation is the band’s debut release, given a re-release by Metal Blade records. It remains a fantastic first album and demonstrates the roots of a band whose second album Carnage was a stunning brutal follow up last year. With a rotten, sickening theme throughout, the intense onslaught starts with Serum 141, and doesn’t apply any sort of brake until Trail Of Entrails concludes.
Their name means Corpse in Swedish, but the blistering death metal which the Stockholm trio produce is anything but stiff rigidity. Mass Funeral Evocation is the band’s debut release, given a re-release by Metal Blade records. It remains a fantastic first album and demonstrates the roots of a band whose second album Carnage was a stunning brutal follow up last year. With a rotten, sickening theme throughout, the intense onslaught starts with Serum 141, and doesn’t apply any sort of brake until Trail Of Entrails concludes.
The three-piece have now been joined by live bassist Joakim Antman but this release was spawned by the initial trio of Barkensajo, Akvik and Sandin. Mass Funeral Evocation contains everything you demand in death metal; high speed drumming, intricate guitar work, pounding riffs and guttural rasping vocals. With all those boxes ticked, it’s just a question of allowing this slab to crush you to a pulp. Death Orgasmic, Behold The Beheaded and the disgusting Skin Necrosis all make your stomach turn. With a double live track finishing this album, there is also evidence of the power of the band in the live setting. A fine reissue. 8/10
AntropomorphiA: Merciless Savagery (Metal Blade Records) [Paul S]
AntropomorphiA are a death metal band based in Tilburg, in the Netherlands. The band have been going since 1989, and released their first album in 1998. There then came a 14 year wait, before the band released albums in 2012, 2014 and 2017, and now in 2019 they are back with new album Merciless Savagery. The style of death metal presented on this album is very old school, not much of a surprise considering the history of the band. However, calling this old school death metal would be a little simplistic, there is a definite blackened edge to all of the material here, this is quite a filthy beast of an album. In some ways, to use a football analogy, this is an album of 2 halves (not quite, bands rarely arrange albums to make them easy for reviewers to write about). The first half of the album, the first 4 songs, are fairly slow, the tempo never gets close to what I would think of as a blast beat. Slower death metal is fine, but this feels a little ploddy, there isn’t much of a spark and it is a little lacklustre. There are good points to the first half of the album; Cathedral Ov Tombs has a nice melody lead that helps to give it a bit of energy and tunefulness to the song. Womb Ov Thorns also has a great, nasty sounding solo. But, the dirge like, ploddy pacing does stop the first four songs from really shining.
AntropomorphiA: Merciless Savagery (Metal Blade Records) [Paul S]
AntropomorphiA are a death metal band based in Tilburg, in the Netherlands. The band have been going since 1989, and released their first album in 1998. There then came a 14 year wait, before the band released albums in 2012, 2014 and 2017, and now in 2019 they are back with new album Merciless Savagery. The style of death metal presented on this album is very old school, not much of a surprise considering the history of the band. However, calling this old school death metal would be a little simplistic, there is a definite blackened edge to all of the material here, this is quite a filthy beast of an album. In some ways, to use a football analogy, this is an album of 2 halves (not quite, bands rarely arrange albums to make them easy for reviewers to write about). The first half of the album, the first 4 songs, are fairly slow, the tempo never gets close to what I would think of as a blast beat. Slower death metal is fine, but this feels a little ploddy, there isn’t much of a spark and it is a little lacklustre. There are good points to the first half of the album; Cathedral Ov Tombs has a nice melody lead that helps to give it a bit of energy and tunefulness to the song. Womb Ov Thorns also has a great, nasty sounding solo. But, the dirge like, ploddy pacing does stop the first four songs from really shining.
In the second half of the album, AntropomorphiA really start to shine. The songs are much more aggressive, faster and much more flowing in style. There are slower parts, but in the second half of this album the slow parts have more drive and power to them. Apocalyptical Scourge is much faster and more direct. The Darkest Light is fast and flowing, whilst being tuneful and melodic at the same time. Unsettling Voices is a slower track, but it has a drive that is missing from the opening half of the album, the song has a relentless quality that is very enjoyable. Luciferian Tempest is probably the strongest track on the album, slow, but powerful opening, going into a blasting section, and features some very good clean, female vocals. This is a really innovative, interesting piece of death metal. On balance, Merciless Savagery is very good death metal album. It’s a shame that the first few tracks don’t measure up to the quality of final 5 songs. If they had, this would probably be getting an 8 or a 9, but the uneven quality takes this from a great album, to one that is just good. Shame. 7/10
None: Damp Chill Of Life (Hypnotic Dirge) [Paul S]
Damp Chill Of Life is None’s third album, coming exactly 1 year after their second album Life Has Gone On Long Enough, which came 1 year after their self titled debut. The band, which is based in America’s Pacific Northwest, is made up of one or possibly 2 people who wish to remain anonymous (the information I got with this album credits Instrumentation to Anonymous, and Voice to Anonymous. I’m not sure if that is 2 different anonymous people, or the same anonymous person credited twice). None play depressive black metal, a slow and achingly melancholic style of black metal. After a very quiet intro (Fade), the album kicks off with the (nearly) title track The Damp Chill Of Life. The track starts with a soft keyboard intro, before a slow guitar riff comes in. The guitar is very fuzzy and lo-fi in sound. The music drips sadness and sorrow, which fits with the mournful vocals, which are fairly low in the mix, but the anguished nature of them help them to cut through the music.
Damp Chill Of Life is None’s third album, coming exactly 1 year after their second album Life Has Gone On Long Enough, which came 1 year after their self titled debut. The band, which is based in America’s Pacific Northwest, is made up of one or possibly 2 people who wish to remain anonymous (the information I got with this album credits Instrumentation to Anonymous, and Voice to Anonymous. I’m not sure if that is 2 different anonymous people, or the same anonymous person credited twice). None play depressive black metal, a slow and achingly melancholic style of black metal. After a very quiet intro (Fade), the album kicks off with the (nearly) title track The Damp Chill Of Life. The track starts with a soft keyboard intro, before a slow guitar riff comes in. The guitar is very fuzzy and lo-fi in sound. The music drips sadness and sorrow, which fits with the mournful vocals, which are fairly low in the mix, but the anguished nature of them help them to cut through the music.
Cease is a soft keyboard led track, it’s soft and minimalist. About halfway through a deeply desolate guitar riff comes in, bringing with it some woeful vocals. We go back to soft keyboards for the ending. You did a good thing is a very slow, sad keyboard instrumental which leads into the next track It’s Painless To Let Go. This track is slow, with a relaxed pacing, spoken vocals and a beautiful melody lead guitar. I Yearn To Feel starts with acoustic guitar and piano. As the track goes on it gains more drive and feels tighter. The track is soft, lilting and beautifully melancholic. Final song A Chance I’d Never Have opens with an up-tempo acoustic guitar riff, that feels slightly uplifting, before guitar and harsh vocals come in and we are back in forlorn, sad territory. The song goes back to clean acoustic guitar and clean, whispered vocals again. After this softer section the song goes back to harsh and heavy. In this section None give us the only thing on the album that could be described as a blast beat. The track then goes back to soft for the ending of the album. Damp Chill Of Life is a great album.
Yes, it’s got a really sad atmosphere to it, but that is in many ways the point, this is depressive black metal after all. The overall sense you get with the album is cathartic and cleansing. It might be counter intuitive that what helps you deal with sadness and depression, is achingly sad music like this, but whether it’s counter intuitive or not, it is true. This album is desperately sorrowful, but that's the point, this sombre feeling is what drives the depression away, and allows you to deal with life’s disappointment and desolation. Not everyone will get this album, but if you do get it, there’s nothing out there that can match it. 8/10
Hypnotic Nausea: The Death Of All Religions (Ikaros Records) [Mark]
The second full length release from Hypnotic Nausea who hail from Greece is a decent effort at stoner post-rock, the band consists of George B. (guitars, vocals), George P. (bass, synths), Nikos B. (drums, samples), Fotis G. (lights, video art). Holy City opens the album with a very suspenseful intro, sounds Gregorian with the chime and the build up, then a slightly uninspired guitar riff drops in, this riff spends too long doing its thing before releasing with distortion and more of the same. It’s not that I don’t like it, just find it very frustrating that everything is so overplayed and drawn out. There is a really well done doom break and a sample that breaks up the monotony of the rest of the track, but we’re five minutes into this eleven minute track at this point. Towards the end we get our first taste of vocals and they’re really, really good, it’s like there should be probably be more of them on The Death Of All Religions.
Outside is one of most musically interesting tracks on the album, a different feels sets it apart from the other material offered here. The guest vocals by Jon Voyager on Priest are very welcome, feeling like an island in a sea of washing riffs that mostly perform the same function. Inquietum Cor closes the album, it’s a nice relaxed affair, the guitar sound is very clean, reminds me a little of If These Trees Could Talk, my only issue is that the track seems to be very drawn out, with little in the way of progression, the playing is great and the sound is pleasant but the attention span for music like this needs to be held with the injection of interesting changes or something that changes the mood, even with the departure into a more doomy ending, this is a bit underwhelming. I don’t dislike anything I heard here, just wish there was a bit of something else thrown in, more vocals throughout would have definitely helped. I could listen to this again, I probably won’t just because there are better stoner/post efforts out there I’d rather spend my limited time with. 6/10
Hypnotic Nausea: The Death Of All Religions (Ikaros Records) [Mark]
The second full length release from Hypnotic Nausea who hail from Greece is a decent effort at stoner post-rock, the band consists of George B. (guitars, vocals), George P. (bass, synths), Nikos B. (drums, samples), Fotis G. (lights, video art). Holy City opens the album with a very suspenseful intro, sounds Gregorian with the chime and the build up, then a slightly uninspired guitar riff drops in, this riff spends too long doing its thing before releasing with distortion and more of the same. It’s not that I don’t like it, just find it very frustrating that everything is so overplayed and drawn out. There is a really well done doom break and a sample that breaks up the monotony of the rest of the track, but we’re five minutes into this eleven minute track at this point. Towards the end we get our first taste of vocals and they’re really, really good, it’s like there should be probably be more of them on The Death Of All Religions.
Outside is one of most musically interesting tracks on the album, a different feels sets it apart from the other material offered here. The guest vocals by Jon Voyager on Priest are very welcome, feeling like an island in a sea of washing riffs that mostly perform the same function. Inquietum Cor closes the album, it’s a nice relaxed affair, the guitar sound is very clean, reminds me a little of If These Trees Could Talk, my only issue is that the track seems to be very drawn out, with little in the way of progression, the playing is great and the sound is pleasant but the attention span for music like this needs to be held with the injection of interesting changes or something that changes the mood, even with the departure into a more doomy ending, this is a bit underwhelming. I don’t dislike anything I heard here, just wish there was a bit of something else thrown in, more vocals throughout would have definitely helped. I could listen to this again, I probably won’t just because there are better stoner/post efforts out there I’d rather spend my limited time with. 6/10
Wednesday, 3 April 2019
A View From The Back Of The Room: Who Knows Didley, King Kraken & Eulogy (Live Review By Paul H)
Eulogy, King Kraken And Who Knows Didley at Fuel Rock Club
A return to the scene of the crime as the sound of hard melodic rock filled Fuel on a Saturday night. Having seen the quality of King Kraken in the earlier M2TM heats and been wowed by Eulogy the night before, it was another opportunity to see these two impressive outfits in a support slot to Who Knows Didley who we had seen the previous week at The Doll’s House in Abertillery.
A small crowd gathered for the start of Eulogy’s (8) set and the band didn’t let us down, playing a solid 35 minutes which followed a similar vein to their set the night before. The band’s sound is classic rock with a fresh twist and their smooth, confident style was as impressive as it had been the night before. Tracks from their EP were delivered with an assurance that may not have been quite so evident the night before. We were also treated to a new song, You’ll Die Alone which was impressive. Eulogy were tight, professional and it was a pleasure to see the band shaking off any hangover of disappointment. Neil Thomas, Mike Williams and Darren Goodwin once again showed that there is much more to come from them.
A few weeks ago, King Kraken (9) had wowed the crowd at Metal To The Masses with an aggressive, cocksure performance which earned them a place on the wild card. The band’s massive sound was impressive then and we weren’t let down by the Kraken as the band bludgeoned their way through a set which combined big riffs with plenty of melody. The band were in fine form, drummer Richard Mears delivering with aplomb, frontman Mark Donoghue commanding the front of the stage. Tracks such as Freak and the massive War Machine really got the venue moving, despite the small numbers. Kraken are moving through the ranks of also ranks and are becoming a massively entertaining force in the South Wales scene and this show confirmed that their huge ballsy sound works perfectly. Donoghue coped manfully with some ‘interesting’ dancing from a female member of the audience, engaging her with his own subtle moves. Meanwhile the twin guitar work of Adam Healy and Pete Rose ensured that the riffs were in plentiful supply. A band that are becoming more impressive with every viewing, its time more people got a shot of the Kraken.
Headlining the event, Who Knows Didley (6) who had the unenviable task of following two bands on form. I’d seen these guys deliver a decent set a week earlier in Abertillery, so knew what to expect and the band followed their game play with a comfortable if routine performance. With the doors open, the audience was fluid to say the least, punters wandering in and out including many the Valley Commandos MC, whose presence was slightly unnerving for a time. Didley didn’t really hit the heights they had the week before, but their energy and enthusiasm ensure that they are a genuinely watchable band. On the night, they simply couldn’t match the quality of the bands who stepped up before them but that shouldn’t stop them from continuing to work hard in the South Wales scene.
A return to the scene of the crime as the sound of hard melodic rock filled Fuel on a Saturday night. Having seen the quality of King Kraken in the earlier M2TM heats and been wowed by Eulogy the night before, it was another opportunity to see these two impressive outfits in a support slot to Who Knows Didley who we had seen the previous week at The Doll’s House in Abertillery.
A small crowd gathered for the start of Eulogy’s (8) set and the band didn’t let us down, playing a solid 35 minutes which followed a similar vein to their set the night before. The band’s sound is classic rock with a fresh twist and their smooth, confident style was as impressive as it had been the night before. Tracks from their EP were delivered with an assurance that may not have been quite so evident the night before. We were also treated to a new song, You’ll Die Alone which was impressive. Eulogy were tight, professional and it was a pleasure to see the band shaking off any hangover of disappointment. Neil Thomas, Mike Williams and Darren Goodwin once again showed that there is much more to come from them.
A few weeks ago, King Kraken (9) had wowed the crowd at Metal To The Masses with an aggressive, cocksure performance which earned them a place on the wild card. The band’s massive sound was impressive then and we weren’t let down by the Kraken as the band bludgeoned their way through a set which combined big riffs with plenty of melody. The band were in fine form, drummer Richard Mears delivering with aplomb, frontman Mark Donoghue commanding the front of the stage. Tracks such as Freak and the massive War Machine really got the venue moving, despite the small numbers. Kraken are moving through the ranks of also ranks and are becoming a massively entertaining force in the South Wales scene and this show confirmed that their huge ballsy sound works perfectly. Donoghue coped manfully with some ‘interesting’ dancing from a female member of the audience, engaging her with his own subtle moves. Meanwhile the twin guitar work of Adam Healy and Pete Rose ensured that the riffs were in plentiful supply. A band that are becoming more impressive with every viewing, its time more people got a shot of the Kraken.
Headlining the event, Who Knows Didley (6) who had the unenviable task of following two bands on form. I’d seen these guys deliver a decent set a week earlier in Abertillery, so knew what to expect and the band followed their game play with a comfortable if routine performance. With the doors open, the audience was fluid to say the least, punters wandering in and out including many the Valley Commandos MC, whose presence was slightly unnerving for a time. Didley didn’t really hit the heights they had the week before, but their energy and enthusiasm ensure that they are a genuinely watchable band. On the night, they simply couldn’t match the quality of the bands who stepped up before them but that shouldn’t stop them from continuing to work hard in the South Wales scene.
Reviews: The End Machine, Drudkh, Bleeding Utopia, Forever Still (Paul H, Sean, Rich & Polly)
The End Machine: The End Machine (Frontiers Records) [Paul H]
Another release from the Frontiers label, who specialise in putting together high-quality hard rock projects. The End Machine is another case in point. The band comprises three former members of Dokken, in Jeff Pilson, George Lynch and Mick Brown along with vocalist Robert Mason who is the current voice of Warrant. Produced by Pilson, who has also been a member of Foreigner since 2004, the sound is as polished as you would expect but what is surprising here is the tub-thumping heaviness that runs through the album. Sure, it’s not the blistering death metal we regularly review here, but in terms of the hard rock arena this is amongst the upper echelons.
Another release from the Frontiers label, who specialise in putting together high-quality hard rock projects. The End Machine is another case in point. The band comprises three former members of Dokken, in Jeff Pilson, George Lynch and Mick Brown along with vocalist Robert Mason who is the current voice of Warrant. Produced by Pilson, who has also been a member of Foreigner since 2004, the sound is as polished as you would expect but what is surprising here is the tub-thumping heaviness that runs through the album. Sure, it’s not the blistering death metal we regularly review here, but in terms of the hard rock arena this is amongst the upper echelons.
There is no doubting that Lynch is one of the guitar greats, and his playing on this album is impressive, demonstrated early in the opening double punch of Leap Of Faith, with a great hook, and the pacey Hold Me Down, which features some smooth harmonies. As you’d expect, there are the usual big anthemic songs, such as Bulletproof, with its melody and slower pace, sing-along chorus, and Burn The Truth, with its semi-acoustic feel and ballad style approach. Then there are the pacier tracks such as the out of control Ride It and the pulsing Alive Today. Of course, this is still glossy, American Rock and it swaggers with an arrogance that bands like Dokken, Warrant and Great White possessed in the 1980s. It may not be to your taste, but this is a well-crafted album from some of the hard rock scene’s most polished performers. Certainly, worth a listen. 8/10
Drudkh: A Few Lines In Archaic Ukrainian (Season Of Mist) [Sean]
Celebrating ones heritage is a fine thing. Sharing one's culture through multiple mediums, recounting the rich history etched and ingrained into the very soil, is a finer thing still. Through artistic expression, one can learn and appreciate that which makes us different. It’s an endless source of inspiration for those with the creators urge at their fingertips, resulting in some truly stunning pieces of art, film and music. All this is well and good, though loses its allure when said celebration becomes something more….odious and insular. All about the “riffs” I may be, but I have my limits. Still, that’s a discussion of another time, we’re here to listen to music! Which leads us to Ukrainian black metallers Drudkh, whose oeuvre has almost more or less revolves around the poetry and exploits (or darkness) of their motherland.
With A Few Lines In Archaic Ukrainian, Drudkh have compiled six songs from three split EP’s, paying homage to all things Slavonic. Let’s begin with the first duo, taken from One Who Talks With The Fog / Pyre Era, Black. Golden Horse wastes little time, assailing us with a wall of blast beats and dense, sweeping chords. Roman Saenko’s instantly recognisable scream punctuates and pierces the din, howling the parting words of those lost to the Soviet regime. Melody is delicately balanced by the bawdy blasting, the weighty and crisp production adding a satisfying punch to the proceedings. Fiery Serpent continues this, dense guitars completely submerge me in its roiling grip. We then move onto the next chapter, originally released as Betrayed By The Sun/Hägringar. His Twenty Fourth Spring is traditional Drudkh through and through, atmosphere and heart wrenching wails painting the bleakest of pictures. The guitars take on a more pensive quality, emotive melodies dragging me into the depths of human disparity. Autumn In Sepia is more of the same, thick walls of guitar burying me completely in Drudkh’s depressive dirge.
Somewhere Sadness Wanders/Schnee is the final split, beginning with All Shadows Of Silence and finishing with The Night Walks Towards Her Throne. The former starts in typical Drudkh fashion, rage and regret perfectly balanced, before fading to cold synths some halfway through. The latter piles on more melody, with an autumnal air permeating throughout. Throughout its duration, A Few Verses… adequately captures the crux of the band, flowing from cacophonous clamour to melancholic moodiness without missing a step. Released for the first time outside of vinyl, A Few Lines in Archaic Ukrainian will no doubt please both discography hunter and fan alike, especially if you’re too stingy to splash out on a decent vinyl player. It will certainly give any listener the murky mileage they crave, with each track lasting at least eight minutes and beyond. In closing, if you aren’t already enraptured by Drudkh’s bleak Ukrainian busking, then A Few Lines….. is a fine place to start. Learning about cultures can be fun after all, huh? 8/10
Bleeding Utopia: Where The Light Comes To Die (Spiritual Beast) [Rich]
Melodic death metal is a genre that people have been wrongly saying is dead and spent which couldn’t be further from the truth and determined to hammer home this fact are Swedish melodic death metal band Bleeding Utopia with their fantastic third album Where The Light Comes To Die. Despite being from Sweden the style of melodic death metal played by Bleeding Utopia has little to do with the famous Gothenburg sound with the emphasis put on the death metal and the melody being a tasty accompaniment.
The melodies are far from the sickly sweet style either being dark and foreboding and having an iciness about them with some of the tremolo riffs in the songs being more akin to black metal than death metal. All these components made for a very pleasant experience for this listeners ears with particular highlights being Seek Solace In Throes, Enhance My Wrath and Welcome To My Pantheon. Bleeding Utopia are not a name I’ve heard of before and on the strength of this album I’ll definitely be checking out their previous works, For those who like their metal with plenty of bite and aggression but also plenty of melody then definitely give this album a listen. 8/10
Forever Still: Breathe In Colours (Nuclear Blast) [Polly]
This is the second album release of the Danish alternative-metal band following the story told in their first album Tied Down. I got the impression of a story being told from the delivery of the album as though it was a metal based musical. The album opens with Rewind, the chaotic electronic intro leading into the song works well with the inspirational tone of the vocals mixed in with the pandemonium of the guitars. Single Breathe In Colours following the album title is one of the heavier tracks of the album that begins with Maja Partsch’s delicate side of her voice then to lead to a harder exterior of the voice, the transition between both work well and paired with the chorus lyrics add well to the dystopian atmosphere I faced throughout the album.
Forever Still: Breathe In Colours (Nuclear Blast) [Polly]
This is the second album release of the Danish alternative-metal band following the story told in their first album Tied Down. I got the impression of a story being told from the delivery of the album as though it was a metal based musical. The album opens with Rewind, the chaotic electronic intro leading into the song works well with the inspirational tone of the vocals mixed in with the pandemonium of the guitars. Single Breathe In Colours following the album title is one of the heavier tracks of the album that begins with Maja Partsch’s delicate side of her voice then to lead to a harder exterior of the voice, the transition between both work well and paired with the chorus lyrics add well to the dystopian atmosphere I faced throughout the album.
I can hear influences from Within Temptation and Evanescence circa their album Origin and Fallen in this but with their own twist that’s shown on my favourite track Survive it has left me deeply impressed by the Maja’s voice and the emotion of rage, vigour and persistence is powered through all creative vessels for the band. There’s a vulnerable side to the music composed but defended by the heavy guitars. Speaking of vulnerable, the lyrics here seem very personal, a very brave decision to release it to the public and a very smart one as it works so well. The album portrays an inner strength we all possess and has definitely been ignited within myself. 8/10
Reviews: Lord Dying, Final Coil, Desert Near The End, Tillian
Lord Dying: Mysterium Tremendum (eOne)
Lord Dying are Erik Olson - guitar/vocals, Chris Evans - guitar, Matt Price - bass and Chase Manhattan - drums and their press release states that the reasons to listen to this is that it has beards and long hair, it's a concept album about death, and that the band hail from Portland Oregon home of the worlds smallest park "the grassy area has a diameter of 0.6 meters and a total area of 0.29 square meters." Mysterium Tremendum is as I've said a concept record about death (double LP of course) and it's their third album and you get the sort of knuckle dragging riffs you'd expect from a band that has toured with Red Fang, Voivod and Crowbar. Billed as progressive sludge merchants, they have got the ferocious sludge riffs and barked vocals but musically this conceptual piece has explored new soundscapes that bring to mind the ambient guitar prowess of Pink Floyd especially on Saying Goodbye To Physical Form.
It's full of riff worship moments the guitars kick in on Envy The End, the crushing low end has some phasered melodic guitars across it, reminding me of Mastodon but with a bit more pace. Vocally Olson has perfect balance between booming cleans and snarling roars as he and Evans' guitar playing brings a wide soundscape that moves from blistering solos, dreamlike states (Tearing At The Fabric Of Consciousness) and of course groove-laden riffage as the rhythm section of Price and Manhattan (great name by the way), can punish but also bring a nuanced sound to this album of towering anthems. Heavy subject matter is dealt with with experimental musical explorations, anchored by stoner/doom/grooves of High On Fire, Mastodon and Baroness, the heaviest of which lyrically being Lacerated Psyche which is about the death of Evans' sister.
For every heavy hitter there are floating beautiful interludes such as Even The Darkness Went Away. Which beautifully roll into tracks such as Severed Forever which skillfully pairs the life affirming ambience with crunching distortion. It's unlikely to be like any other sludge record this year. Brimming with beautiful compositions and rawness both musically and lyrically Mysterium Tremendum has been added to my album of the year list already! 10/10
Final Coil: The World We Left Behind For Others (WormHoleDeath)
Persistence Of Memory the debut album of Final Coil received an 8/10 from Rich when it was released as he called it "a cross between Porcupine Tree, Tool and Alice In Chains" so when this dropped in our inbox I wondered what would album two hold for this atmospheric, prog/post rock band. Well it all starts well enough as The Last Battle bringing those downtuned, chunky Tool riffs in from the beginning for a straight ahead opening that leads into Scattered Dust which has a guitar sound not to dissimilar to SOAD and flows into an instrumental outro that's washed away by the riffs of Empty Handed which had those Alice In Chains grooves and dual vocals on the chorus.
Final Coil are Phil Stiles (lead Vocals, rhythm guitar, lead guitar, synths and programming), Richard Awdry (lead guitar, rhythm guitar, vocals and programming) and Jola Stiles (bass guitar and flute) with Barry French adding the drums to the record. As with a lot of prog records this is concept album that is a sequel to their debut, full of rallying political/social/economical cries and in true Roger Water's style the opening notes of The World We Left... are the final notes of Persistence Of Memory, it's a moodier, heavier affair than the debut, with pulsing electronics that cut through the sometimes doom-like heaviness of this impressive album, if you like your prog with a much more alternative, brooding style that can't be listened to on shuffle (as you'll lose the 'feel') then Final Coil could be the band for you to listen too while the new Tool album is still in gestation. 8/10
Desert Near The End: Of Fire And Stars (Total Metal Records)
Having not released an album since 2016 Greek power/thrashers Desert Near The End return in 2019 with their fourth record and it's as destructive as a ballistic missile assault. Of Fire And Stars has heavy thrash riffs and screamed vocals but also brings some classic metal riffs to the table. It's this balance of heavy and melody that brings to mind Iced Earth, Nevermore and even Testament, a track such as A Call Of Stars could have come off Burnt Offerings as it has viciousness but also enough melodic clean guitars to move away from thrash, a theme which continues on the blistering Light Long Dead.
In fact the entire record could be described as blistering with Alexandros barking away as the riffs roar away at the pace of an artillery barrage, only on Earth And Water do we get a break from thrash metal riffs with a nice stomping number that features some killer guitar work on the solo that powers into the lumbering The Highest Hill. Desert Near The End are a three piece of vocals, guitar and bass so as such they have quite a cast of backing musicians including a drummer, guitarists, keys and backing vocals but this record is coherent and brutal while also having some complex compositions towards the end of the record. If heavy power/thrash is your bag crank up the stereo and reach for that Desert Near The End. 8/10
Tillian: Lotus Graveyard (Self Released)
Formed by singer-songwriter Leah Marcu in 2014 when she started working on a solo album, drawing from her personal turmoils as well as her background in psychology and mysticism. Shoot forward to 2017 and Israeli band Tillian now has 7 members which makes them a musical force as they pair epic orchestral movements with metal instrumentation. It's a slow building record with Leah's vocals at the forefront, Reborn is primarily vocals while Touched layered acoustics, ivory tinikling and some stirring cello occasionally revealing the metal riffs but they really get to shine on Frozen Sun which sees the band and Leah at their bombastic best their theatrical music putting me in mind of Magenta but with a dramatic edge of bands such as Queen and even early Genesis.
Produced by Erez Yohanan (Orphaned Land, Amaseffer), recorded in Tel-Aviv and mastered by Forrester Savell (Karnivool, The Butterfly Effect). As I've said the band is built around the eclectic vocal style from Leah especially on Black Holes but the band are also brilliant with particular props going to cellist Alexandra and Inbal's keys. On Love Or Heaven they even add some harsh vocals giving moving them into the Orphaned Land territory. Lotus Graveyard is a difficult album if you like the straight ahead meat and potatoes metal, this is something a bit more interesting and overblown with careening ballads and punchy riffs as is dances between metal and musicals. 7/10
Lord Dying are Erik Olson - guitar/vocals, Chris Evans - guitar, Matt Price - bass and Chase Manhattan - drums and their press release states that the reasons to listen to this is that it has beards and long hair, it's a concept album about death, and that the band hail from Portland Oregon home of the worlds smallest park "the grassy area has a diameter of 0.6 meters and a total area of 0.29 square meters." Mysterium Tremendum is as I've said a concept record about death (double LP of course) and it's their third album and you get the sort of knuckle dragging riffs you'd expect from a band that has toured with Red Fang, Voivod and Crowbar. Billed as progressive sludge merchants, they have got the ferocious sludge riffs and barked vocals but musically this conceptual piece has explored new soundscapes that bring to mind the ambient guitar prowess of Pink Floyd especially on Saying Goodbye To Physical Form.
It's full of riff worship moments the guitars kick in on Envy The End, the crushing low end has some phasered melodic guitars across it, reminding me of Mastodon but with a bit more pace. Vocally Olson has perfect balance between booming cleans and snarling roars as he and Evans' guitar playing brings a wide soundscape that moves from blistering solos, dreamlike states (Tearing At The Fabric Of Consciousness) and of course groove-laden riffage as the rhythm section of Price and Manhattan (great name by the way), can punish but also bring a nuanced sound to this album of towering anthems. Heavy subject matter is dealt with with experimental musical explorations, anchored by stoner/doom/grooves of High On Fire, Mastodon and Baroness, the heaviest of which lyrically being Lacerated Psyche which is about the death of Evans' sister.
For every heavy hitter there are floating beautiful interludes such as Even The Darkness Went Away. Which beautifully roll into tracks such as Severed Forever which skillfully pairs the life affirming ambience with crunching distortion. It's unlikely to be like any other sludge record this year. Brimming with beautiful compositions and rawness both musically and lyrically Mysterium Tremendum has been added to my album of the year list already! 10/10
Final Coil: The World We Left Behind For Others (WormHoleDeath)
Persistence Of Memory the debut album of Final Coil received an 8/10 from Rich when it was released as he called it "a cross between Porcupine Tree, Tool and Alice In Chains" so when this dropped in our inbox I wondered what would album two hold for this atmospheric, prog/post rock band. Well it all starts well enough as The Last Battle bringing those downtuned, chunky Tool riffs in from the beginning for a straight ahead opening that leads into Scattered Dust which has a guitar sound not to dissimilar to SOAD and flows into an instrumental outro that's washed away by the riffs of Empty Handed which had those Alice In Chains grooves and dual vocals on the chorus.
Final Coil are Phil Stiles (lead Vocals, rhythm guitar, lead guitar, synths and programming), Richard Awdry (lead guitar, rhythm guitar, vocals and programming) and Jola Stiles (bass guitar and flute) with Barry French adding the drums to the record. As with a lot of prog records this is concept album that is a sequel to their debut, full of rallying political/social/economical cries and in true Roger Water's style the opening notes of The World We Left... are the final notes of Persistence Of Memory, it's a moodier, heavier affair than the debut, with pulsing electronics that cut through the sometimes doom-like heaviness of this impressive album, if you like your prog with a much more alternative, brooding style that can't be listened to on shuffle (as you'll lose the 'feel') then Final Coil could be the band for you to listen too while the new Tool album is still in gestation. 8/10
Desert Near The End: Of Fire And Stars (Total Metal Records)
Having not released an album since 2016 Greek power/thrashers Desert Near The End return in 2019 with their fourth record and it's as destructive as a ballistic missile assault. Of Fire And Stars has heavy thrash riffs and screamed vocals but also brings some classic metal riffs to the table. It's this balance of heavy and melody that brings to mind Iced Earth, Nevermore and even Testament, a track such as A Call Of Stars could have come off Burnt Offerings as it has viciousness but also enough melodic clean guitars to move away from thrash, a theme which continues on the blistering Light Long Dead.
In fact the entire record could be described as blistering with Alexandros barking away as the riffs roar away at the pace of an artillery barrage, only on Earth And Water do we get a break from thrash metal riffs with a nice stomping number that features some killer guitar work on the solo that powers into the lumbering The Highest Hill. Desert Near The End are a three piece of vocals, guitar and bass so as such they have quite a cast of backing musicians including a drummer, guitarists, keys and backing vocals but this record is coherent and brutal while also having some complex compositions towards the end of the record. If heavy power/thrash is your bag crank up the stereo and reach for that Desert Near The End. 8/10
Tillian: Lotus Graveyard (Self Released)
Formed by singer-songwriter Leah Marcu in 2014 when she started working on a solo album, drawing from her personal turmoils as well as her background in psychology and mysticism. Shoot forward to 2017 and Israeli band Tillian now has 7 members which makes them a musical force as they pair epic orchestral movements with metal instrumentation. It's a slow building record with Leah's vocals at the forefront, Reborn is primarily vocals while Touched layered acoustics, ivory tinikling and some stirring cello occasionally revealing the metal riffs but they really get to shine on Frozen Sun which sees the band and Leah at their bombastic best their theatrical music putting me in mind of Magenta but with a dramatic edge of bands such as Queen and even early Genesis.
Produced by Erez Yohanan (Orphaned Land, Amaseffer), recorded in Tel-Aviv and mastered by Forrester Savell (Karnivool, The Butterfly Effect). As I've said the band is built around the eclectic vocal style from Leah especially on Black Holes but the band are also brilliant with particular props going to cellist Alexandra and Inbal's keys. On Love Or Heaven they even add some harsh vocals giving moving them into the Orphaned Land territory. Lotus Graveyard is a difficult album if you like the straight ahead meat and potatoes metal, this is something a bit more interesting and overblown with careening ballads and punchy riffs as is dances between metal and musicals. 7/10
Tuesday, 2 April 2019
Metal To The Masses South Wales 2019 Heat 6 Preview
Bloodstock Metal To The Masses, South Wales Heat 6
Another hard-fought heat last week provided us with an enjoyable evening with a range of styles throughout the evening. The final heat arrives on 5th April with possibly the most eclectic evening of the series. Only three bands were able to provide their thoughts on the questions we pose, so you’ll have to find out more about From The Depths and Throwing Knives from another source.
In Which It Burns
West Walian’s In Which It Burns have been making steady progress over the past couple of years, so Let’s start with some background about the band from guitarist/vocalist Stretch and then contributions from the rest of the band. “Formed in Feb 2016 by current guitarist Steven Flynn, and former drummer Dan Mayhew. The original line up was completed by bassist Michael ‘Mikey’ Thomas in April and guitarist / vocalist Wayne ‘Stretch’ Mayhew in May. First E.P Hatred In Disguise was recorded in August 2016, using the bands own equipment and then sent to be mastered by Loud Noise Studios in Birmingham. The Band took to the stage for the first time in Nov 2016 at Crowley’s rock bar in Swansea. And have since performed on many stages across south west Wales. Many gigs, a recording or two, and few line-up changes later and IWIB are ready to make their (skid)mark on the worlds metal scene.”
Introduce us to the current line-up. “Wayne ‘Stretch’ Mayhew – Guitars and Vocals; Michael ‘Mikey’ Thomas – Bass; Steven 'Steve’ Flynn – Lead Guitars and Eugene ‘Vinny’ Lowe – Drums.”
The guys all wanted to describe the band’s sound so here goes. Vinny: “Heavy, heart thumping metal with raunchy riffs, a fast backbone beat, a driven bassline and pure hardcore vocals” whilst Stretch added “All things heavy and angry rammed in your face in a protest of aggression and a stand against indifferences. Or ......METAL!!!" Mikey: “Dirty Thick, hard hitting, groovy, headbang inducing. Steve: “Lamb of god meets (old skool) Sepultura”. Got it? Good. So, moving on, who are the main influences for the band? “We are all influenced by many different bands, artists and genres which we feel makes our overall sound more unique." Vinny adds “Avenged Sevenfold, Trivium, Slipknot, Lamb Of God, Foo Fighters, Disturbed, Skindred, Alestorm”. Steve throws in “Pantera and Lamb Of God", whilst Stretch includes the more extreme side of things with "Cradle of Filth / Acid Bath / ThyArtIsMurder and Skinlab". Mikey probably makes the most sense: “The little voices in my head and finding ways to make them shut up for a while”. Okay, we’ll just let that one sink in a bit ... and move on to the lawn question.
Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? Vinny: “It would be red like the fire.... In Which It Burns!!” Mikey “Much fire, much burning, some toasted marshmallows”. Stretch “I can give you a quote to sort all that”. Well, that’s cleared that up then.
What prompted you to apply for the M2TM competition? “It’s all about the chance to progress. If we can share a stage with the best of the west and somehow convince everybody that we deserve the chance to play on a stage at a major festival, then we’ve progressed and fought damned hard to do it. We thrive on the pressure”.
What can we expect from you at Fuel? Vinny: “A performance us and the crowd will enjoy on and off stage!!” Mikey: “Four guys on a stage going like fuck to the best of their ability!!” Steve: "Riffage you can groove to. Power, heaviness and volume!!” Stretch “A crew that does its best to rip your face off leaving you wondering how it happened ... but wanting it to happen again!!”
Let’s hear about a few of the band’s highlights. Mikey: “Headlining Sin City, the fun, giggles and coffee when we get together”. Stretch: “Been doing this as long as I can remember in one form or another, my highlight has to be that finally I have found like minded peeps who just want to play. We work hard and play harder, the jam is our planning room, the stage is our war. Fuckin’ love it!!”
And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. Mikey: “Steve isn’t a metal guitarist, I’m not a metal bassist (or even a bassist!) Vinny isn’t a metal drummer.... Stretch is metal as fuck!!” Stretch: “Mike has an issue with candles, Steve has romantic inclinations towards me (but is a look don’t touch kinda guy!) Vinny is a Russian double travel agent”.
Thanks to the guys from In Which It Burns for their answers. Moving on to one of the most anticipated performances within the heats, we took a bit of time out with the mysterious Rombonoscop to find out about Trombonoscopy. Brace brace. We are going down!
Trombonoscopy
Let’s start with some background. Give us a potted history of the band “There is no band History in this version of linear time.” Introduce us to the current line-up: “ROMBONOSCOP”. How would you describe the band’s sound? “Disappointing, and Strange.” It’s going well so far so let’s push harder. Who are the main influences for the band? “Mr Bungle, Herbie Hancock, Bucket of Piss.” Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? “It'll most likely go deaf.”
What prompted you to apply for the M2TM competition? “EVERY BEGINNING MUST HAVE A STORY. AND EVERY STORY, MUST HAVE A BANANA SANDWICH”. A lot of shouting going on here but stick with us. What can we expect from you at Fuel? One word captures the whole evening: “Tinnitus”.
Tell us a few highlights for the band since you started. “The inception and conception of the walking contradiction”. Have you been to Bloodstock before? If so, tell us some of your experiences; why is it such a great festival? “Yes, a few times. You can't see Mr Big share an outdoor line up with Ingested anywhere else!”
And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. “R O M B O N O S C O P”. Little to say after that apart from be there on Friday night. It could be something quite special … or bizarre!
Epic Fail
At the last minute we received the response from Tom Roche at Epic Fail so here are the answers from band number 3 and we start as always with some background. “Epic Fail is a Melodic Metal band from the South Wales Valleys, with a distinctive sound, Epic Fail can please all genres of metal and rock. Epic Fail’s single A Life Reborn released December 2017 has an introduction release video by Richard Brake (Game of Thrones/31) gaining over 1k views very quickly. Epic Fail are a recording and touring band which sell out venues they play. Epic Fail have toured the UK and are regularly playing Cardiff, Swansea and Bristol.”
A promising start so let’s continue with Tom guiding us through the six-piece’s current line-up. “The current line-up is Karl ‘Reggie’ Harris – Vocals, ‘Rocking’ Tom Roche – Guitar, Dannie ‘Fingers’ Beaton – Guitar, Natasha Sault – Keyboard and Vocals, Mike ‘Needles’ Price – Drums and Michael ‘Smiler’ Phillips – bass”. It’s going to be snug on that stage in Fuel but if Agrona can get seven on there no reason why Epic Fail won’t fit comfortably.
How would you describe the band’s sound? Who are the main influences for the band? “Epic Fail’s trademark sound can be described as melodic metal with shot of rock ‘n’ roll. Epic Fail tend to focus on sizzling leads lines and filthy groove-based riffs. Our influences include a huge Scandinavian metal, such as Children of Bodom and In Flames. Epic Fail also count bands such as Iron Maiden and Avenged Sevenfold as highly influential.”
We move onto the lawn question and possibly the most surreal answer of all interviews. Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? “A landscaped 3D picture of all band members wearing nothing but hopes and dreams would be carved into the grass. In addition, water would also weep from any cracks in the ceilings, birds would fall out of the sky, and every time the wind blew a haunting voice would gently whisper “filthy as sin”.” See. I told you.
Okay. So, what prompted you to apply for the M2TM competition? “Epic Fail have consistently been rocking shows around South Wales for the last 10 years and have previously entered M2TM; around 9 years ago. We have always wanted to play Bloodstock as several our members go every year. To play would be an honour. With 10 years additional experience, it’s time to kick it up a notch and finally get a place playing Bloodstock.”
What can we expect from you at Fuel? “Unadulterated awesomeness with a sprinkling of fantastic hair. Amazing guitar harmonies; guitarmonies if you wish, will accompany this sensory spectacular. Our singer may be rocking a Zimmer due to a broken foot, so if anything, it’s worth watching just to see if she breaks the other one.” Ouch! Good luck to Tasha. Broken feet seem to be a theme in South Wales with Adam Vaughan (Fallen Temples) also sporting a fine cast now.
There is a strong line-up this year and the competition will be fierce. It’s great to have a healthy Welsh Metal scene. Playing this event always seems to raise the game. Tell us a few highlights for the band since you started. “Epic Fail has recorded in the same studio as Bullet for My Valentine and supported amazing bands including The Defiled, Despised Icon, Anterior, Misery Index, Shaped By Fate, Psychostick, Galactic Empire, The Dirty Youth and many more. A record deal was also offered in 2009 just before Epic Fail disbanded for a short period of time. Unfortunately, this was not picked up when the band reformed, but this didn’t stop them from rocking non-stop.”
Have you been to Bloodstock before? If so, tell us some of your experiences; why is it such a great festival? “Some of our members have been to Bloodstock before, including the singer who attended the first ever bloodstock. The best part is the music and the diversity of bands, there is something for everyone. The atmosphere, unlike other music festivals, is one of togetherness. The entire metal community is a family and Bloodstock is an excellent example of individuals who have never met sharing a common love and having an amazing cider fuelled experience in the process.”
And finally, and I’m slightly scared to ask, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. “Karl Harris has been credited with the invention of escape rooms. He came up with the idea by accident when an individual inadvertently escaped from his house. Details are a little fuzzy. Tom Roche, inventor of the time travel and the bourbon biscuit, will be releasing his bestselling and multi award winning autobiography ‘how I time travel’ last week. Dan Beaton knows how to play the secret cord that pleased the Lord and remains the only person able to do this. Natasha Sault, inventor of the Battenberg, once made a 1.5 metre tower of soup that required no supporting structure and held itself as a tower in liquid form. When Mike Needles loses his cheese grater, he simply uses his abs instead. Shredded. Michael is called Smiler because he is the only known person with the ability to make cats laugh at will. In fact, his smile is so powerful he would be able to take down light air craft with it if ever a war broke out.”
If that doesn’t intrigue you, then please don’t bother to come. However, if you want to be part of a night showcasing the best of the Welsh talent, and pay a measly £5 for five bands, then get to Fuel on Friday night. It should be a fitting final heat.
Another hard-fought heat last week provided us with an enjoyable evening with a range of styles throughout the evening. The final heat arrives on 5th April with possibly the most eclectic evening of the series. Only three bands were able to provide their thoughts on the questions we pose, so you’ll have to find out more about From The Depths and Throwing Knives from another source.
In Which It Burns
West Walian’s In Which It Burns have been making steady progress over the past couple of years, so Let’s start with some background about the band from guitarist/vocalist Stretch and then contributions from the rest of the band. “Formed in Feb 2016 by current guitarist Steven Flynn, and former drummer Dan Mayhew. The original line up was completed by bassist Michael ‘Mikey’ Thomas in April and guitarist / vocalist Wayne ‘Stretch’ Mayhew in May. First E.P Hatred In Disguise was recorded in August 2016, using the bands own equipment and then sent to be mastered by Loud Noise Studios in Birmingham. The Band took to the stage for the first time in Nov 2016 at Crowley’s rock bar in Swansea. And have since performed on many stages across south west Wales. Many gigs, a recording or two, and few line-up changes later and IWIB are ready to make their (skid)mark on the worlds metal scene.”
Introduce us to the current line-up. “Wayne ‘Stretch’ Mayhew – Guitars and Vocals; Michael ‘Mikey’ Thomas – Bass; Steven 'Steve’ Flynn – Lead Guitars and Eugene ‘Vinny’ Lowe – Drums.”
The guys all wanted to describe the band’s sound so here goes. Vinny: “Heavy, heart thumping metal with raunchy riffs, a fast backbone beat, a driven bassline and pure hardcore vocals” whilst Stretch added “All things heavy and angry rammed in your face in a protest of aggression and a stand against indifferences. Or ......METAL!!!" Mikey: “Dirty Thick, hard hitting, groovy, headbang inducing. Steve: “Lamb of god meets (old skool) Sepultura”. Got it? Good. So, moving on, who are the main influences for the band? “We are all influenced by many different bands, artists and genres which we feel makes our overall sound more unique." Vinny adds “Avenged Sevenfold, Trivium, Slipknot, Lamb Of God, Foo Fighters, Disturbed, Skindred, Alestorm”. Steve throws in “Pantera and Lamb Of God", whilst Stretch includes the more extreme side of things with "Cradle of Filth / Acid Bath / ThyArtIsMurder and Skinlab". Mikey probably makes the most sense: “The little voices in my head and finding ways to make them shut up for a while”. Okay, we’ll just let that one sink in a bit ... and move on to the lawn question.
Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? Vinny: “It would be red like the fire.... In Which It Burns!!” Mikey “Much fire, much burning, some toasted marshmallows”. Stretch “I can give you a quote to sort all that”. Well, that’s cleared that up then.
What prompted you to apply for the M2TM competition? “It’s all about the chance to progress. If we can share a stage with the best of the west and somehow convince everybody that we deserve the chance to play on a stage at a major festival, then we’ve progressed and fought damned hard to do it. We thrive on the pressure”.
What can we expect from you at Fuel? Vinny: “A performance us and the crowd will enjoy on and off stage!!” Mikey: “Four guys on a stage going like fuck to the best of their ability!!” Steve: "Riffage you can groove to. Power, heaviness and volume!!” Stretch “A crew that does its best to rip your face off leaving you wondering how it happened ... but wanting it to happen again!!”
Let’s hear about a few of the band’s highlights. Mikey: “Headlining Sin City, the fun, giggles and coffee when we get together”. Stretch: “Been doing this as long as I can remember in one form or another, my highlight has to be that finally I have found like minded peeps who just want to play. We work hard and play harder, the jam is our planning room, the stage is our war. Fuckin’ love it!!”
And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. Mikey: “Steve isn’t a metal guitarist, I’m not a metal bassist (or even a bassist!) Vinny isn’t a metal drummer.... Stretch is metal as fuck!!” Stretch: “Mike has an issue with candles, Steve has romantic inclinations towards me (but is a look don’t touch kinda guy!) Vinny is a Russian double travel agent”.
Thanks to the guys from In Which It Burns for their answers. Moving on to one of the most anticipated performances within the heats, we took a bit of time out with the mysterious Rombonoscop to find out about Trombonoscopy. Brace brace. We are going down!
Trombonoscopy
Let’s start with some background. Give us a potted history of the band “There is no band History in this version of linear time.” Introduce us to the current line-up: “ROMBONOSCOP”. How would you describe the band’s sound? “Disappointing, and Strange.” It’s going well so far so let’s push harder. Who are the main influences for the band? “Mr Bungle, Herbie Hancock, Bucket of Piss.” Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? “It'll most likely go deaf.”
What prompted you to apply for the M2TM competition? “EVERY BEGINNING MUST HAVE A STORY. AND EVERY STORY, MUST HAVE A BANANA SANDWICH”. A lot of shouting going on here but stick with us. What can we expect from you at Fuel? One word captures the whole evening: “Tinnitus”.
Tell us a few highlights for the band since you started. “The inception and conception of the walking contradiction”. Have you been to Bloodstock before? If so, tell us some of your experiences; why is it such a great festival? “Yes, a few times. You can't see Mr Big share an outdoor line up with Ingested anywhere else!”
And finally, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. “R O M B O N O S C O P”. Little to say after that apart from be there on Friday night. It could be something quite special … or bizarre!
Epic Fail
At the last minute we received the response from Tom Roche at Epic Fail so here are the answers from band number 3 and we start as always with some background. “Epic Fail is a Melodic Metal band from the South Wales Valleys, with a distinctive sound, Epic Fail can please all genres of metal and rock. Epic Fail’s single A Life Reborn released December 2017 has an introduction release video by Richard Brake (Game of Thrones/31) gaining over 1k views very quickly. Epic Fail are a recording and touring band which sell out venues they play. Epic Fail have toured the UK and are regularly playing Cardiff, Swansea and Bristol.”
A promising start so let’s continue with Tom guiding us through the six-piece’s current line-up. “The current line-up is Karl ‘Reggie’ Harris – Vocals, ‘Rocking’ Tom Roche – Guitar, Dannie ‘Fingers’ Beaton – Guitar, Natasha Sault – Keyboard and Vocals, Mike ‘Needles’ Price – Drums and Michael ‘Smiler’ Phillips – bass”. It’s going to be snug on that stage in Fuel but if Agrona can get seven on there no reason why Epic Fail won’t fit comfortably.
How would you describe the band’s sound? Who are the main influences for the band? “Epic Fail’s trademark sound can be described as melodic metal with shot of rock ‘n’ roll. Epic Fail tend to focus on sizzling leads lines and filthy groove-based riffs. Our influences include a huge Scandinavian metal, such as Children of Bodom and In Flames. Epic Fail also count bands such as Iron Maiden and Avenged Sevenfold as highly influential.”
We move onto the lawn question and possibly the most surreal answer of all interviews. Lemmy once said “if we moved in next door your grass would die”. If you moved in next door, what would happen to my lawn? “A landscaped 3D picture of all band members wearing nothing but hopes and dreams would be carved into the grass. In addition, water would also weep from any cracks in the ceilings, birds would fall out of the sky, and every time the wind blew a haunting voice would gently whisper “filthy as sin”.” See. I told you.
Okay. So, what prompted you to apply for the M2TM competition? “Epic Fail have consistently been rocking shows around South Wales for the last 10 years and have previously entered M2TM; around 9 years ago. We have always wanted to play Bloodstock as several our members go every year. To play would be an honour. With 10 years additional experience, it’s time to kick it up a notch and finally get a place playing Bloodstock.”
What can we expect from you at Fuel? “Unadulterated awesomeness with a sprinkling of fantastic hair. Amazing guitar harmonies; guitarmonies if you wish, will accompany this sensory spectacular. Our singer may be rocking a Zimmer due to a broken foot, so if anything, it’s worth watching just to see if she breaks the other one.” Ouch! Good luck to Tasha. Broken feet seem to be a theme in South Wales with Adam Vaughan (Fallen Temples) also sporting a fine cast now.
There is a strong line-up this year and the competition will be fierce. It’s great to have a healthy Welsh Metal scene. Playing this event always seems to raise the game. Tell us a few highlights for the band since you started. “Epic Fail has recorded in the same studio as Bullet for My Valentine and supported amazing bands including The Defiled, Despised Icon, Anterior, Misery Index, Shaped By Fate, Psychostick, Galactic Empire, The Dirty Youth and many more. A record deal was also offered in 2009 just before Epic Fail disbanded for a short period of time. Unfortunately, this was not picked up when the band reformed, but this didn’t stop them from rocking non-stop.”
Have you been to Bloodstock before? If so, tell us some of your experiences; why is it such a great festival? “Some of our members have been to Bloodstock before, including the singer who attended the first ever bloodstock. The best part is the music and the diversity of bands, there is something for everyone. The atmosphere, unlike other music festivals, is one of togetherness. The entire metal community is a family and Bloodstock is an excellent example of individuals who have never met sharing a common love and having an amazing cider fuelled experience in the process.”
And finally, and I’m slightly scared to ask, tell us something unusual about each band member that you feel needs to be shared with the rest of the metal community. “Karl Harris has been credited with the invention of escape rooms. He came up with the idea by accident when an individual inadvertently escaped from his house. Details are a little fuzzy. Tom Roche, inventor of the time travel and the bourbon biscuit, will be releasing his bestselling and multi award winning autobiography ‘how I time travel’ last week. Dan Beaton knows how to play the secret cord that pleased the Lord and remains the only person able to do this. Natasha Sault, inventor of the Battenberg, once made a 1.5 metre tower of soup that required no supporting structure and held itself as a tower in liquid form. When Mike Needles loses his cheese grater, he simply uses his abs instead. Shredded. Michael is called Smiler because he is the only known person with the ability to make cats laugh at will. In fact, his smile is so powerful he would be able to take down light air craft with it if ever a war broke out.”
If that doesn’t intrigue you, then please don’t bother to come. However, if you want to be part of a night showcasing the best of the Welsh talent, and pay a measly £5 for five bands, then get to Fuel on Friday night. It should be a fitting final heat.
Bloodstock Metal To The Masses Heat 5 Review
Metal To The Masses South Wales Heat 5, Fuel Rock Club, Cardiff 29th March 2019
A break of three weeks has flown by and we rolled into Heat 5 of the qualifying heats. Back at Fuel at the end of a beautiful day, it was Infernal Diadem (6) who took the opening slot. The four-piece set about their task with gusto, their impressive looking guitars dwarfed by bassist Elliot Cadmore’s giant seven string weapon (not a euphemism - Ed). The band play an intricate style of thrash metal with the influences of bands such as Megadeth clearly identifiable within their song structures. Musically the band were relatively tight, with Cadmore at times almost playing as a third guitarist, something we know the man can do with ease. Whilst musically the band are enjoyable, the Swansea band are let down by George Smith Holmes’ vocal style which doesn’t fit with the band’s sound at all. It led to a rather disjointed sound which I felt struggled to gel. Infernal Diadem also suffered from a sparse crowd with only a hardcore of regulars making the effort to watch all the bands. With a lack of support the band were always going to struggle and so it proved. Guitarist James Nicholas was playing his final gig with the band and we wish him well in his future endeavours. Sadly, it wasn’t to be Infernal Diadem’s night.
A change of style and pace followed with the melodic hard rock of three-piece Eulogy (8). Throughout the heats, there have been some superb quality bands playing, often those who don’t stick to the typical death or thrash metal genres which tend to dominate on the stages at Bloodstock, and Eulogy can be added to that list. The Cardiff three-piece delivered a confident set crammed full of top-quality hard rock. The vocals of Neil Thomas, who also played a thunderous bass, were a surprise to start but as soon as you were accustomed to them, they fitted perfectly with the band’s driving sound. Meanwhile drummer Darran Goodwin helped out with the backing vocals whilst keeping time with ease and alongside Thomas, guitarist Mike Williams demonstrated that you don’t have to be flashy to play good music. With a solid set list which included tracks from their EP Back To Life, Eulogy soon warmed the growing crowd.
I’d been harsh on Cadacus (4) and their debut release Virtual Salvation when it was released last year, describing the album as ‘a real struggle’. I was hoping that the band would prove to be better in the live arena, but I’ve got to be honest, they weren’t. The weakest band on the bill by a country mile, their disjointed heavy metal was unimpressive and repetitive, the same riff apparently used for most of their songs. I was also harsh on the vocals on the album, and at least Tom Gapper stepped up his game with an energetic performance on the night, despite spending most of the set off stage in the pit alongside guitarist Luke Roberts. This did mean at times those towards the back were only watching three members of the band on stage which substantially detracted from the show. A word of advice; in a small venue like Fuel you really need to let the audience see you and diving into the pit generally doesn’t help if it is for a prolonged period. Full respect to new drummer Charlie Barraclough who was giving it his all on his debut with the band. I have a massive admiration for anyone who gets up and plays. I don’t, so I often feel terrible at writing reviews which are negative. However, Cadacus have a long way to go before they will get close to a semi-final slot, which is a shame as they have the energy and enthusiasm to move forward. Keep at it guys.
Before the heat, I’d have placed money on Ablated (7) obliterating the audience and crushing their way into the semi-final. Having seen them really pulverise in the same venue towards the end of 2018 I was fully aware of their firepower. On the night, despite an explosive opening, where vocalist Greg Fleming roared about “we’re here to fucking make you die”, this was a rather subdued show, with the band seemingly disinterested at times. Their brand of death metal is binary. Aim, focus, destroy being the mantra. Their bludgeoning approach usually works effortlessly, but as their 30 minutes progressed, the more conversation there was around the venue, something which you would not expect for a band of this calibre. Apart from the hardcore who were working hard at the front of the stage, there appeared to be a lack of interest around the room. Maybe an off night? Maybe not the right crowd for such an intense band. Who knows? I know Ablated can do better. Make sure you see them again because live they are usually phenomenal.
Closing off the evening was the atmospheric post-black metal of Levitas (9). The band took their set by the scruff of the neck, gave it a seriously hard shake and then stamped it into the ground once more. The commanding presence of bassist and vocalist Liam Wolf dominating the stag, his hooded appearance adding a sphere of sinister atmosphere to an already unworldly sound. Flanked by guitarists Helen Kinsella and Rhys Williams and ably nailed down by the solid time keeping of Sam Heffernan, Levitas proceeded to tear through a stunning set which had the audience gasping. The sheer emotional intensity of the set took even seasoned Levitas fans by surprise as they upped the gears quickly to hit their stride. A huge ovation greeted the conclusion of their set and it was no surprise when the band won a landslide number of votes to cruise to the semi-finals.
With the votes in, the only real question left was who would claim the wildcard slot. As it transpired, Ablated sneaked it above Eulogy, and another evening of metal was concluded. As always, huge thanks to all the bands, the organisers, the sound engineer and Fuel Rock Club for hosting another superb evening. Onwards to Heat 6. Shit’s about to get real!
A break of three weeks has flown by and we rolled into Heat 5 of the qualifying heats. Back at Fuel at the end of a beautiful day, it was Infernal Diadem (6) who took the opening slot. The four-piece set about their task with gusto, their impressive looking guitars dwarfed by bassist Elliot Cadmore’s giant seven string weapon (not a euphemism - Ed). The band play an intricate style of thrash metal with the influences of bands such as Megadeth clearly identifiable within their song structures. Musically the band were relatively tight, with Cadmore at times almost playing as a third guitarist, something we know the man can do with ease. Whilst musically the band are enjoyable, the Swansea band are let down by George Smith Holmes’ vocal style which doesn’t fit with the band’s sound at all. It led to a rather disjointed sound which I felt struggled to gel. Infernal Diadem also suffered from a sparse crowd with only a hardcore of regulars making the effort to watch all the bands. With a lack of support the band were always going to struggle and so it proved. Guitarist James Nicholas was playing his final gig with the band and we wish him well in his future endeavours. Sadly, it wasn’t to be Infernal Diadem’s night.
A change of style and pace followed with the melodic hard rock of three-piece Eulogy (8). Throughout the heats, there have been some superb quality bands playing, often those who don’t stick to the typical death or thrash metal genres which tend to dominate on the stages at Bloodstock, and Eulogy can be added to that list. The Cardiff three-piece delivered a confident set crammed full of top-quality hard rock. The vocals of Neil Thomas, who also played a thunderous bass, were a surprise to start but as soon as you were accustomed to them, they fitted perfectly with the band’s driving sound. Meanwhile drummer Darran Goodwin helped out with the backing vocals whilst keeping time with ease and alongside Thomas, guitarist Mike Williams demonstrated that you don’t have to be flashy to play good music. With a solid set list which included tracks from their EP Back To Life, Eulogy soon warmed the growing crowd.
I’d been harsh on Cadacus (4) and their debut release Virtual Salvation when it was released last year, describing the album as ‘a real struggle’. I was hoping that the band would prove to be better in the live arena, but I’ve got to be honest, they weren’t. The weakest band on the bill by a country mile, their disjointed heavy metal was unimpressive and repetitive, the same riff apparently used for most of their songs. I was also harsh on the vocals on the album, and at least Tom Gapper stepped up his game with an energetic performance on the night, despite spending most of the set off stage in the pit alongside guitarist Luke Roberts. This did mean at times those towards the back were only watching three members of the band on stage which substantially detracted from the show. A word of advice; in a small venue like Fuel you really need to let the audience see you and diving into the pit generally doesn’t help if it is for a prolonged period. Full respect to new drummer Charlie Barraclough who was giving it his all on his debut with the band. I have a massive admiration for anyone who gets up and plays. I don’t, so I often feel terrible at writing reviews which are negative. However, Cadacus have a long way to go before they will get close to a semi-final slot, which is a shame as they have the energy and enthusiasm to move forward. Keep at it guys.
Before the heat, I’d have placed money on Ablated (7) obliterating the audience and crushing their way into the semi-final. Having seen them really pulverise in the same venue towards the end of 2018 I was fully aware of their firepower. On the night, despite an explosive opening, where vocalist Greg Fleming roared about “we’re here to fucking make you die”, this was a rather subdued show, with the band seemingly disinterested at times. Their brand of death metal is binary. Aim, focus, destroy being the mantra. Their bludgeoning approach usually works effortlessly, but as their 30 minutes progressed, the more conversation there was around the venue, something which you would not expect for a band of this calibre. Apart from the hardcore who were working hard at the front of the stage, there appeared to be a lack of interest around the room. Maybe an off night? Maybe not the right crowd for such an intense band. Who knows? I know Ablated can do better. Make sure you see them again because live they are usually phenomenal.
Closing off the evening was the atmospheric post-black metal of Levitas (9). The band took their set by the scruff of the neck, gave it a seriously hard shake and then stamped it into the ground once more. The commanding presence of bassist and vocalist Liam Wolf dominating the stag, his hooded appearance adding a sphere of sinister atmosphere to an already unworldly sound. Flanked by guitarists Helen Kinsella and Rhys Williams and ably nailed down by the solid time keeping of Sam Heffernan, Levitas proceeded to tear through a stunning set which had the audience gasping. The sheer emotional intensity of the set took even seasoned Levitas fans by surprise as they upped the gears quickly to hit their stride. A huge ovation greeted the conclusion of their set and it was no surprise when the band won a landslide number of votes to cruise to the semi-finals.
With the votes in, the only real question left was who would claim the wildcard slot. As it transpired, Ablated sneaked it above Eulogy, and another evening of metal was concluded. As always, huge thanks to all the bands, the organisers, the sound engineer and Fuel Rock Club for hosting another superb evening. Onwards to Heat 6. Shit’s about to get real!
Monday, 1 April 2019
A View From The Back Of The Room: Idles (Live Review By Stacey)
Idles Tramshed, Cardiff
Editor's Note - Yet again we were at a loss for this gig until we managed to get another friend of the blog to write a review for us about the Sold Out show at The Tramshed. Once again she's not a reviewer but a fan who we've asked to review one of her favourite bands.
When I arrived at The Tramshed, we were told half of us (those with the press) would not be able to get into the venue due how sold out it was, in fact it was probably one of the fastest selling shows in the Tramshed's history which goes to show how much of a fanbase this Bristol rock band have. Idles (9) are a raw energetic rock band, who build on their punk roots and delivered a wild frenzied performance from start to finish.
Coming out to a huge ovation they definitely got the crowd moving their boots as the energy on the stage was mirrored by the audience, who were near fanatical (I count myself in that group as well). Much of their popularity is that these guys have so much truth in their lyrics, they wear their hearts on their sleeves. Most of the songs they played came from their latest album Joy As An Act Of A Resistance it was songs such as the Tory baiting Mother getting the crowd into a frenzy as those big bass notes hit.
The atmosphere was on fire at The Tramshed, as tracks like Danny Nedelko, Never Fight A Man With A Perm were pumped out for the packed house. On Exeter they even managed to put put a bit of Living On A Prayer. As every song was thrashed out the crowd surfing didn't disappoint, causing problems from the security staff. If there's a band that can be seen as vital on the British music scene, then it's Idles. Make sure to snap up tickets when they tour again as it will probably sell out even quicker. Idles you rock!
Editor's Note - Yet again we were at a loss for this gig until we managed to get another friend of the blog to write a review for us about the Sold Out show at The Tramshed. Once again she's not a reviewer but a fan who we've asked to review one of her favourite bands.
When I arrived at The Tramshed, we were told half of us (those with the press) would not be able to get into the venue due how sold out it was, in fact it was probably one of the fastest selling shows in the Tramshed's history which goes to show how much of a fanbase this Bristol rock band have. Idles (9) are a raw energetic rock band, who build on their punk roots and delivered a wild frenzied performance from start to finish.
Coming out to a huge ovation they definitely got the crowd moving their boots as the energy on the stage was mirrored by the audience, who were near fanatical (I count myself in that group as well). Much of their popularity is that these guys have so much truth in their lyrics, they wear their hearts on their sleeves. Most of the songs they played came from their latest album Joy As An Act Of A Resistance it was songs such as the Tory baiting Mother getting the crowd into a frenzy as those big bass notes hit.
The atmosphere was on fire at The Tramshed, as tracks like Danny Nedelko, Never Fight A Man With A Perm were pumped out for the packed house. On Exeter they even managed to put put a bit of Living On A Prayer. As every song was thrashed out the crowd surfing didn't disappoint, causing problems from the security staff. If there's a band that can be seen as vital on the British music scene, then it's Idles. Make sure to snap up tickets when they tour again as it will probably sell out even quicker. Idles you rock!
A View From The Back Of The Room: Holding Absence (Live Review By Polly)
Holding Absence, The Globe, Cardiff
Their set opened with Perish,also the opening track on their self-titled album, to add to the hype and leaving myself and the rest of the crowd on the edge of their metaphorical seat, they played the intro sounds from the album before kicking it all off. The band’s timing and precision is admirable and combined with Lucas Woodland’s impressive voice, which sounds exactly the same live as on album (a bonus in my books, there is nothing worse than being excited to see a band perform and them sounding the polar opposite to what they do on disc).
It has a certain ring: “Love’s a funny thing”.
Well after reviewing their album and being totally blown away it was imperative that saw Holding Absence live and what a night it was. The event was extra special as it is was the band’s hometown gig. Following their album release earlier this month it’s clear the impact they have from the impressive turnout, I haven’t seen The Globe that full, it wouldn’t surprise me if it was sold out. (Ah I can feel the sweat - Ed)
Well after reviewing their album and being totally blown away it was imperative that saw Holding Absence live and what a night it was. The event was extra special as it is was the band’s hometown gig. Following their album release earlier this month it’s clear the impact they have from the impressive turnout, I haven’t seen The Globe that full, it wouldn’t surprise me if it was sold out. (Ah I can feel the sweat - Ed)
Their set opened with Perish,also the opening track on their self-titled album, to add to the hype and leaving myself and the rest of the crowd on the edge of their metaphorical seat, they played the intro sounds from the album before kicking it all off. The band’s timing and precision is admirable and combined with Lucas Woodland’s impressive voice, which sounds exactly the same live as on album (a bonus in my books, there is nothing worse than being excited to see a band perform and them sounding the polar opposite to what they do on disc).
As stated in the album review, the band’s well written lyrics are powerful to say the least, and earth shattering in the flesh, the crowd were sucked in immediately. The energy they have put into their performance is a foundation to how much their music and performance means to them and how hard they aim to surpass their fans expectations of seeing a band live. It was heartwarming to see the crowd scream the lyrics back at the band and the band’s reaction shows the humility and gratitude they have for their fan base. Vocalist, Lucas took a moment to interact with the crowd which he stated the band does not like doing much as they feel their music should do the talking. He then went into performing the softer paced song Marigold, I’m ashamed to say that through the tough exterior I failed to keep that it brought a tear to my eye.
Every track on the album that I was gasping to hear live, they delivered and it surpassed each expectation that I had of the band. The main track of their album that left me itching to hear live was Your Love (Has Ruined My Life) which emphasises that this is exactly why I enjoy standing in a crowded room full of sweaty people, it makes it all worth-while. This band does not need a trebuchet to go far, I can see a bright future for the band if they keep this up.
**Side note & another reason of why I enjoyed the show: watching the security guard lose his mind as he runs around the venue trying to stop people from crowd surfing and failing miserable.
**Side note & another reason of why I enjoyed the show: watching the security guard lose his mind as he runs around the venue trying to stop people from crowd surfing and failing miserable.
Reviews: Exumer, Obscure Infintity, Invictus, Lost In Kiev (Paul H & Manus]
Exumer: Hostile Defiance (Metal Blade Records) [Paul H]
Three years ago, I reviewed the fourth full-length by German thrash merchants Exumer. The Raging Tides was full throttle old school, thrash which the band had delivered back in the 1980s before returning in 2012 with Fire & Damnation. Well, here we are again, with Hostile Defiance album number five. Once again it delivers exactly what you would expect and demand. Kreator, Sodom and Destruction are now joined by another band who provide that no-nonsense Teutonic thrash which you either love or hate. Personally, I can listen to this all day, the raging febrile tempo, drumming going like the Duracell bunny, slashing riffs and great hooks all topped off with snarling but understandable vocals.
The opening three tracks on this release confirm that nothing much has changed. The title track, Raptor and Carnage Eater all speed along at 150mph (or 241kph for our European friends), jagged riffage, slicing solos and thunderous bass all pit inducing. The stomp of Dust Eater is reminiscent of US thrash Icons Exodus and Overkill, and that is high praise indeed. Sometimes it’s the simple things done well that work best, and Exumer do that with aplomb. Tracks such Trapper, Vertical Violence and the flesh peeling Splinter are all solid thrash anthems.
The bonus version adds a blistering cover of Scorpions He’s A Woman – She’s A Man and a brave stab at Entombed Supposed To Rot. Big balls indeed to get stuck into those two beasts but it demonstrates the confidence that Exumer now have. With Sodom producer Dennis Koehne at the helm, it’s a polished yet raw package just as you would want a boiling hot thrash album. I gave The Raging Tides an 8 and Hostile Defiance maintains the quality. Bang your head and enjoy. 8/10
Obscure Infinity: Into The Vortex of Obscurity (FDA Records) [Paul H]
Crushing death metal comes your way courtesy of the third full-length release from German outfit Obscure Infinity. I must admit I was only vaguely aware of the four-piece, but this release has certainly sparked interest. Formed in 2007, the band comprises Kalle on drums, Stefan on guitar and bass, vocalist Jules and guitarist Sascha. Named after a song by death metal legends Grave, Obscure Infinity released their debut over 11 years ago with a seven-year gap before Perpetual Descending Into Nothingness appeared in 2015. Several EPs and split releases linked the two.
So, what do we get? Well, the opening salvo of Embrace Obscurity and Cosmic Disgrace are both fast, furious thrashing death metal songs, with guttural vocals and the usual face melting riffing. Grotesque Face, possibly my favourite song title of the year, starts hard but completely shifts direction and moves to standard heavy metal with an almost power metal attitude, clean melody, sweet guitar solos and a change of tempo all apparent before the band move towards a more traditional melodic death metal approach to conclude. Holding the central slot on this album is a massive opus, over eight minutes of melodic death which ebbs and flows like a mighty river. Lightning Spear (A Forlorn Wanderer Pt.II) is a complex and unwieldy beast but it works well, the changes of tempo and style sufficient to maintain interest throughout. This track is surpassed by the closing track, the epic Swallowed By Time And Darkness, a mixture of melodic guitar work and crushing death metal riffs which conclude a solid and impressive release. 7/10
Invictus: Burst The Curse (Independent) [Manus]
This EP from German group Invictus features just three tracks, making it feel more like a demo. On a first listen, its most notable quality is how quickly it ends; it really isn’t a sit-down listen. That being said, the songs are strong efforts. The opener, Burst The Curse is a ripping fast-paced tune that aside from an ill-placed acoustic bridge, maintains its energy throughout. Gaia is an acoustic track that features the strongest vocal performance of the three and shows the band is able to pull off at least two different styles. Going back into the heavy territory, the third and final track, Someone Out There is more of the same, but unfortunately, some sour vocal notes distract from the chugging riffage that carries the song. The songs would all flow much better in a full-length record, or at least an EP that’s a couple tracks longer to give them some cohesiveness. 6/10
Lost In Kiev: Persona (Pelagic Records) [Manus]
Experimental, ambient, atmospheric, weird, but most of all, chill, are some of the words that come to mind listening to Lost In Kiev’s Persona. There’s a very relaxing nature about all of these songs. Even with heavy drums and fast bits, this is an album you’d just want to have playing while you shut off and chill out. The futuristic tinge adds a of depth to the record, notably on tracks like Pygmalion and XM3216. Mindflies is a bit of a faster and heavier tune, but incorporates the record’s essence so much to not break the mould that is firmly in place by the time that track kicks in. Other songs that stand out are the trippy Psyche, the bright The Incomplete and the album’s melodic closer, Mecasocialis. The tunes are very visual and able to conjure up images in the mind. It would be a fine record to put on at the end of the day for someone trying to wind down or decompress. But it can also be an album to really pay attention to in a more awake state. 7/10
Three years ago, I reviewed the fourth full-length by German thrash merchants Exumer. The Raging Tides was full throttle old school, thrash which the band had delivered back in the 1980s before returning in 2012 with Fire & Damnation. Well, here we are again, with Hostile Defiance album number five. Once again it delivers exactly what you would expect and demand. Kreator, Sodom and Destruction are now joined by another band who provide that no-nonsense Teutonic thrash which you either love or hate. Personally, I can listen to this all day, the raging febrile tempo, drumming going like the Duracell bunny, slashing riffs and great hooks all topped off with snarling but understandable vocals.
The opening three tracks on this release confirm that nothing much has changed. The title track, Raptor and Carnage Eater all speed along at 150mph (or 241kph for our European friends), jagged riffage, slicing solos and thunderous bass all pit inducing. The stomp of Dust Eater is reminiscent of US thrash Icons Exodus and Overkill, and that is high praise indeed. Sometimes it’s the simple things done well that work best, and Exumer do that with aplomb. Tracks such Trapper, Vertical Violence and the flesh peeling Splinter are all solid thrash anthems.
The bonus version adds a blistering cover of Scorpions He’s A Woman – She’s A Man and a brave stab at Entombed Supposed To Rot. Big balls indeed to get stuck into those two beasts but it demonstrates the confidence that Exumer now have. With Sodom producer Dennis Koehne at the helm, it’s a polished yet raw package just as you would want a boiling hot thrash album. I gave The Raging Tides an 8 and Hostile Defiance maintains the quality. Bang your head and enjoy. 8/10
Obscure Infinity: Into The Vortex of Obscurity (FDA Records) [Paul H]
Crushing death metal comes your way courtesy of the third full-length release from German outfit Obscure Infinity. I must admit I was only vaguely aware of the four-piece, but this release has certainly sparked interest. Formed in 2007, the band comprises Kalle on drums, Stefan on guitar and bass, vocalist Jules and guitarist Sascha. Named after a song by death metal legends Grave, Obscure Infinity released their debut over 11 years ago with a seven-year gap before Perpetual Descending Into Nothingness appeared in 2015. Several EPs and split releases linked the two.
So, what do we get? Well, the opening salvo of Embrace Obscurity and Cosmic Disgrace are both fast, furious thrashing death metal songs, with guttural vocals and the usual face melting riffing. Grotesque Face, possibly my favourite song title of the year, starts hard but completely shifts direction and moves to standard heavy metal with an almost power metal attitude, clean melody, sweet guitar solos and a change of tempo all apparent before the band move towards a more traditional melodic death metal approach to conclude. Holding the central slot on this album is a massive opus, over eight minutes of melodic death which ebbs and flows like a mighty river. Lightning Spear (A Forlorn Wanderer Pt.II) is a complex and unwieldy beast but it works well, the changes of tempo and style sufficient to maintain interest throughout. This track is surpassed by the closing track, the epic Swallowed By Time And Darkness, a mixture of melodic guitar work and crushing death metal riffs which conclude a solid and impressive release. 7/10
Invictus: Burst The Curse (Independent) [Manus]
This EP from German group Invictus features just three tracks, making it feel more like a demo. On a first listen, its most notable quality is how quickly it ends; it really isn’t a sit-down listen. That being said, the songs are strong efforts. The opener, Burst The Curse is a ripping fast-paced tune that aside from an ill-placed acoustic bridge, maintains its energy throughout. Gaia is an acoustic track that features the strongest vocal performance of the three and shows the band is able to pull off at least two different styles. Going back into the heavy territory, the third and final track, Someone Out There is more of the same, but unfortunately, some sour vocal notes distract from the chugging riffage that carries the song. The songs would all flow much better in a full-length record, or at least an EP that’s a couple tracks longer to give them some cohesiveness. 6/10
Lost In Kiev: Persona (Pelagic Records) [Manus]
Experimental, ambient, atmospheric, weird, but most of all, chill, are some of the words that come to mind listening to Lost In Kiev’s Persona. There’s a very relaxing nature about all of these songs. Even with heavy drums and fast bits, this is an album you’d just want to have playing while you shut off and chill out. The futuristic tinge adds a of depth to the record, notably on tracks like Pygmalion and XM3216. Mindflies is a bit of a faster and heavier tune, but incorporates the record’s essence so much to not break the mould that is firmly in place by the time that track kicks in. Other songs that stand out are the trippy Psyche, the bright The Incomplete and the album’s melodic closer, Mecasocialis. The tunes are very visual and able to conjure up images in the mind. It would be a fine record to put on at the end of the day for someone trying to wind down or decompress. But it can also be an album to really pay attention to in a more awake state. 7/10
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