Reviews: Baroness, Brujeria, She Burns Red, Thorn (Reviews By Rich Piva, Danika Ulrich, James Jackson & Joe Guatieri)

Baroness - Stone (Abraxan Hymns) [Rich Piva]

I have been all in on Baroness since I heard the first note of the Red Album. Seeing them open for Opeth for that record, in a tiny club paying an extended set and running out of songs to cover for a no-show High On Fire sealed the deal. So, a new Baroness record is a holiday for me, even if I didn’t love the last one. There has been a subtle and sometimes not so subtle shift from the heavy that the band brought in the early days, and a way slicker production value that I have never really loved, but generally new Baroness is some degree of good Baroness. Now, with Stone, the band’s sixth album, I am sensing that shift continuing, but not leaving behind the amazing songwriting and playing that the band has always been about. People yearning for the days of Red and Blue need to shift their expectations as this is a maturing, more introspective band, but boy when they want to, they can sure bring it.

Take the song and first single, Last Word. That is classic and trademarked Baroness. What a killer track and exactly what I am expecting. How about that solo? I love the dual vocals on the last verse towards the end, and the band brings the catchy, as I really do remember every last word. No fan should be disappointed with the first real track on Stone. Beneath The Rose has a great fast-paced opening riff and some nice drum work. The pseudo spoken word vocals did not do it for me at first, but I dig the kind of sloppy punk aesthetic to this track. You may not know it is Baroness until the bridge kicks in, where you get those trademarked layered vocals to partner with the angry talk-singing. Love the dual solo too.

With zero break in tracks, you merge right into Choir, which opens with more talking, that honestly starts to wear a bit thin. I am not sure what they were going for with this track, but of the 30 plus they had written I think we could have found something else to fit in here. It sounds like a weird 80s movie montage, and not in a good way. The acoustic bridge between tracks, The Dirge, is short but has sweet harmonies that I so want to hear more of from the band. Anodyne has a nice chug to it and is back to that Baroness sound. This is my favorite track on Stone.

Shine is another strong track, but I think the production is minimizing the impact these songs could have. It sounds more indie rock than sludge, that is not necessarily a bad thing, you just have to set your expectations. Magnolia starts out soft but winds up being the heaviest song on Stone. This is the epic track I want on every Baroness record, as the seven-plus-minutes of it is another highlight for me.

Doesn’t it seem like there should already be a track called Magnolia on a Baroness album? I like Under The Wheel, it is the rawest track on Stone, but may be a minute or two long, but not if it was the closer, which I think it should have been. The acoustic Bloom finishes us off with a bit of a whimper and would have been better placed midway through the record, if at all.

Don’t go into this looking for a heavier, rawer Baroness, because Stone is not that. There are a few glimpses of it, but this is probably the least heavy of all their albums, but that doesn’t necessarily make it bad, just different. I still think the production on Stone is too much and could be dialed back more than a couple of notches. But when Baroness hits, they hit hard, as the songs that are like on Stone I really like.

Is this a complete, end to end Baroness classic? I need more time with it, I only have had this for a few hours. Ask me again when I can really dig in, but my initial feeling is no. It is another later period Baroness record with some strong tracks and a few that could have been reconsidered. We shall see if this is a heavy rotation, end to end, enduring time listen, but for now, take the gifts that are tracks like Last Word, Anodyne, and Magnolia and hope that spending more time with Stone allows for the true beauty of it to sink in. Time will tell. 7/10

Brujeria - Esto Es Brujeria (Nuclear Blast) [Danika Ulrich]

For those who are unfamiliar with Brujeria, the rumours are that they’re satanic drug lords who just so happen to be in a death metal band on the side. Following five years of regular touring and one-off single releases, the brutal Mexican death metal veterans are set to release their fifth full-length album, Esto Es Brujeria. The much-anticipated album is the follow-up to 2016's Pocho Aztlan and the second with label Nuclear Blast Records.

The lengthy album spanning 16 tracks was created in numerous studios worldwide including Chile, the UK, and the US. Esto Es serves as the album's opening track, it uses traditional instruments over grindcore in an insane way. Rapid blast beats are found throughout the album but especially in track 2, El Patron Del Reventon. Slower, sludge style death metal is featured on track 2. With the slower segments constantly on the verge of slipping into that dull groove that the band sometimes leans into.

Although a solid album, it’s very samey compared to the last four full-lengths. Brujeria still sounds as brutal as they did in the 90’s but I expected a little more progression in their sound. 6/10

She Burns Red - Out Of Darkness (Self Released) [James Jackson]

This album landing in my inbox to review could not have come at a better time, the band are on tour and supporting South Of Salem towards the end of the year and whilst my fanboying for the Bournemouth boys is well known, She Burns Red, of whom the Salem boys are huge fans, are an absolute mystery to me. 

According to the band’s description of their songs, Rise And Fall, the album’s second track, previously released as a single was written after and about the recent Covid pandemic, it’s the first track they’d written together and shows how solid an act they really are, lyrically it’s mature and heartfelt. Killing Time is an anthem for the downtrodden, those of us caught in the menial but necessary evil that is the 9 to 5 grind, the waste of potential and enjoyment of all that life could offer; however there is hope. 

There’s a feel of Foo Fighters within the track Crosshairs, another track previously released as a single and despite its rather dark theme of bad relationships, it’s a surprisingly upbeat sounding. In the words of She Burns Red, the final track, Out Of Darkness is an ode to the end of a relationship, acknowledging the sadness that will undoubtedly be felt but knowing that things can and will undoubtedly be better; that arching narrative of despair and hope encapsulated in one song. 

Out Of Darkness is an album dedicated to the trials of life, from opening track Touch to the closing refrain of Out Of Darkness the frailty of the human condition is laid bare. I’ve only scraped the surface here but these tracks, chosen as singles for obvious reasons, showcase the talent and immense potential that She Burns Red have and at just over half an hour long and nine songs, it’s an impressive promising debut. 9/10

Thorn - Evergloom (Transcending Obscurity Records) [Joe Guatieri]

I’m going to be honest right off the bat: I’m very new to listening to death metal. The subgenre has never really been my thing as I never had a proper starting point for it and I thought that it had become cliche as there’s so much of it out there. I instead jumped head first into other extreme styles like grindcore and black metal as they were more appealing to me. However, I look forward to being challenged by Thorn’s new album Evergloom nonetheless.

The opener Spectral Realms Of Eternal combines doom and death metal elements with its all-encompassing guitars, fast explosive drums, and spine-chilling vocals from the pits of hell. This song goes in several directions, such as transitioning to synth-like lead guitars that sound very distant, with most aspects landing.

Track four, Gaze Of The Seer, stands out as an unexpected entry on this album. The heavy syncopated guitars remind me of industrial metal bands like Fear Factory, incorporating moments of extreme noise which I love. This song has no rules, playing to their strengths despite the lacklustre drumbeat.

Unfortunately, as I delve deeper into the record, their sound reverts to the mean. For example, with track six Phantom Noose, it may be fast and aggressive but it doesn’t present anything new from what we’ve heard thus far. The bass just feels like a total afterthought as there is nothing about it here that stands out to me, to a point where I don’t even think that it’s being played on the track.

Consistent guttural vocals become hindered by mostly similar sounding drums and an under-utilised bass guitar. 5/10

A View From The Back Of The Room: Escuela Grind (Live Review By Danika Ulrich)

Escuela Grind, Torpid State & Vulgar Dissection, Corporation, Sheffield 10.09.23

As I arrived I was greeted by the neon monsters that adorn the walls of Corporation, Sheffield. I’ve always had a heightened sense of excitement when a gig is at a completely new venue for myself. I made it upstairs just as opener, Vulgar Dissection (9), were hitting the stage. The death metal four piece were a strong choice to open. Although numbers were lacking in the crowd during their set they still brought the energy you’d expect from a sold out show.

Next up was Torpid State (7). The more punk leaning act reminded me a lot of Ho99o9 with main vocalist harnessing vocals similar to Bryan Garris (Knocked Loose) whilst the second vocalist had a cleaner style. The two contrasting sounds together made for an interesting set.

Fifteen minutes earlier than billed, Escuela Grind (10) instantly captured my attention with their highly animated and dynamic performance after taking the stage. The band opened with the ear-splittingly loud guitars of Endowed With Windows. Immediately I’m shown that frontwoman Katerina is incredibly energetic and entertaining. Her brutal vocals are better than some of the more extreme male vocalists. 

Although attendance was on the smaller side at Corporation, the attitude of people who did attend made up for a lack in numbers. The multitude of reactions from the audience throughout their set demonstrates the versatility of Escuela Grinds work. They are more than just a grindcore band, as they also incorporate elements of death metal and metalcore into their music. At the halfway point of their set the band cuts the audience in half as they perform a song from their unreleased death metal EP. The wall of death that followed was funny to see, it was lacking a few too many people to make any impact but the thought was there.

As the show came to a close, Katerina took a minute to dedicate the evening to women and LGBTQ+ people in a male-dominated subculture. The night then ended with a brutal cover of Hatebreed's Filth, which was utterly deafening. The bands playful approach to grindcore and their desire to encourage new demographics to the genre will undoubtedly infuriate some people but, if the shows continue to be this good, the cult following that Escuela Grind has attracted will only continue to expand. Captivating riffs mixed with the chaotic drumming left me with an experience verging on the surreal. It was a journey trying to process what I was listening to. The grindcore revolutionaries Escuela Grind put on a phenomenal performance.

Reviews: Psygnosis, Mondo Drag, Alkaloid, Blackened Halo (Reviews By Jeremy Silverman, Rich Piva, Danika Ulrich & Mark Young)

Psygnosis - Mercury (Season Of Mist) [Jeremy Silverman]

This was, in short, a masterpiece. I have never heard a band make such a complete album. Starting with the musicianship, this was top notch, as each artist was at the top of their game. It was immediately evident that each member of the band had skills beyond what normal people would consider ‘godly’. 

The guitar riffs were magnificent, with a fusion of heavy and melodic metal perfectly executed. The lack of vocals made these stand out as they were the lead melody in each song. The drums were absolutely impeccable. With blast beats as fast as comprehension and double kick flurries exploding rhythms from a simple chug riff to a thick, sludgy amalgamation of beautiful sound. Opening with Öpik-Oort this album kicks off with a sweeping opus. Usually, a completely instrumental song that lasts 15 minutes can seem to drag and get repetitive fast, however Psygnosis avoids that. 

If I was to recommend this album to someone, I would start by playing them Öpik-Oort. The first song on this album set the tone for what would be a perfect hybrid of multiple genres. With multiple flowing metal passages encompassing the album, it is clearly a metal album yet there are moments where classical and electronic music take the fore front. All in all, absolutely amazing. 10/10

Mondo Drag - Through The Hourglass (RidingEasy Records) [Rich Piva]

Mondo Drag has not put an album out in eight years, until now, when Through The Hourglass drops to get all proggy/psych up in here, and whoa baby do they bring it. This is a self-described “quarantine/pandemic” album, so get ready for some dark bits as well. The band is back in full force, with a new rhythm section (the bass player from Birth! Bring the prog, baby…) and six new killer tracks that are in existence to expand your mind in all sorts of ways.

 
The two opening tracks, Burning Daylight Parts I and II kick us off with some super cool and in parts chill proggy psych as promised, with Part I opening with quite the sonic soundscape and cool riff to boot while then bringing all sorts of 60s California psych vibes, especially when the vocals kick in. Oh, and how about towards the end with that solo and the organ placed nicely behind for the atmosphere. Part II has a nice funky psych vibe to it to start, but just wait for that organ solo to kick end towards the end. The spacy, almost crooning vocals work so well on Through The Hourglass. Burning Daylight was the perfect way to start out this record. 

Passages is up next, and you are in for eleven minutes of mind-bending on this bad boy. It takes a couple minutes to kick in, but once it does, look out. I love how the organ drives a lot of what’s going on here. I am getting serious Pink Floyd vibes with Passages. This will be one of the instrumental tracks of the year, especially with that killer guitar solo to close it out. The B-side of the record starts with the title track, that has a cool guitar opening and is some seriously chill psych prog. The synths are so well done on this album, which is a nice lead into Death In Spring, which may be my favorite track on the album, harkening back to some serious 70s prog goodness. Floyd vibes continue with Run, which is the most straight-ahead song on Through The Hourglass with that synth guitar partnership continuing to be awesome and on full display until the gigantic 70s prog ending in all of its sequent robe glory.

 
It took me until about the fifth listen to get this. Nothing clicked right away, but when it did, it really hit me across the face. Mondo Drag are truly back with the album that I dig the most of their discography. Dark and chill, psych and prog, synth and guitar, all these things brought together for some seriously killer stuff. Through The Hourglass should be experienced by all in its gigantic, mind-altering wonderfulness. 9/10

Alkaloid - Numen (Season Of Mist) [Danika Ulrich]

You can be sure the product of extreme metal legends forming a progressive supergroup will be entertaining and unusual. Numen, the third release from Alkaloid, definitely fits both. There is a lot of room for creativity in the world of extreme metal, from extended song lengths to extravagant orchestration and a variety of vocal techniques. Things are sure to get interesting when members of prominent bands break free from genre restrictions. 

Numen builds on the themes and essence of Alkaloid’s two prior albums, Liquid Anatomy (2018) and The Malkuth Grimoire (2015). Both of the band's earlier albums have song lengths in excess of ten minutes and go over an hour in total. This is also true of Numen clocking in at an hour and nine minutes. Track 2, The Cambrian Explosion, stands out to me. This track initially appears like one of the more overtly death metal compositions. It’s quick and intricate with plenty of shredding. That is until the track's halfway point when a nearly operatic bridge and a brief, understated jazz interlude are introduced.

Clusterfuck, the main track from the album, starts off with a slow tempo and a catchy, enduring riff. Such musical decisions are what prevent this album from descending into anarchy. This track serves as the central tranquility, it likens to the utter silence and darkness of space. It’s incredibly infectious and the most philosophical of the album. Numen is more than just an album, it's a profound cosmic voyage. This album represents a significant advancement in the band's catalog, fusing many genres into a distinctive sound with a lasting emotional impact.

The album represents a major leap in the band's discography, showcasing their skill in fusing many metal genres into fresh sounds and their unrelenting dedication to musical innovation. 7/10.

Blackened Halo - Extinction Inbound (Self Released) [Mark Young]

I love EP’s, the short-sharp smack in the face from an unexpected source and the general vibe of delivering 4 or 5 songs in a rapid manner. Its great as a precursor to a full album and when one lands like this, well it brightens up your day nicely.

The lads from Blackened Halo offer up 4 songs here, with original composition Human Parasite opening up proceedings. From the cover art to subject matter and just the overall attack the Munich natives show a command of ‘classic thrash’ with enough of a modern filter to make it unique to themselves. And you know, it’s got legs with that distinctive European phrasing in the vocals that slip between a ‘hard’ style and the more extreme guttural method that does jar a bit but the actual song behind it hits like a hybrid of Megadeth with Spreading The Disease Anthrax as they bang out a great riff punctuated with some spot solo breaks. So far, so good and I think I’d need to hear more of their own material before passing judgement, but it is a great introduction to their music.

Now it gets interesting, as next up is Blood And Thunder by those Atlanta mentalists Mastodon. Now I love this song, and the album it comes from. It’s a faithful cover whilst not adding anything to the original but what you do get is a feeling of fun as it wheels along, and to be honest I can make out the lyrics better on this one!!

One of things about covers is being able to nail them. With Mastodon there’s no doubt they did, for the next one they aim just that bit higher with Tornado Of Souls. If you know metal you know this song, and you know that it has one of the most finger shredding solos ever committed to audio. It’s an absolute personal favourite of mine so as this one started, I wasn’t bowled over and this is due to the vocals. 

Dave Mustaine's voice and singing style is probably not the easiest to emulate and here they try to match it as opposed to adopting their own style. In all honesty, I don’t listen to Megadeth for the singing (don’t act surprised) so taking that out of the equation they tear through it with aplomb playing it slightly faster than the original and nailing the solo equally well. We close up with a Zager And Evans In The Year 2525 which is given a riff-over that works surprisingly well.

In terms of it being an EP, it does what it needs to do in being able to introduce the band and give you a flavour of who they are. Personally, I would have liked another track by them, but it is what it is and, in that regard, it’s pretty good. 7/10

Reviews: Tomb Mold, Danko Jones, Damnation's Hammer, Roots Of The Old Oak (Reviews By Rick Eaglestone, Zak Skane, Mark Young & Rich Piva)

Tomb Mold - The Enduring Spirit (20 Buck Spin) [Rick Eaglestone]

Canadian death metal outfit Tomb Mold sent fans into raptures with the announcement of the fourth studio album The Enduring Spirit, their first since 2019’s Planetary Clairvoyance – within a week of the announcement the album will be available digitally with physical copies to arrive around mid-October.

Opener The Perfect Memory (Phantasm Of Aura) is a hugely cataclysmic re introduction (as if we needed one) everything blends like it should with meticulous details and thundering drum patterns and it swings into Angelic Fabrications its abundantly clear that this is a clear statement of intent shrouded around soul crush riffs and vocals.

The absolute gem for me is Will Of Whispers as I know what a hybrid of Ozric Tentacles and Morbid Angel would sound like, cosmic, prog like tones amongst savage death metal – I have that all day and then some, this then continues in parts for Fate’s Tangled Parts this though has some slower death/doom parts nestled in subtly that I really enjoyed.

Entrapped in a visceral cocoon swirling with solos is Flesh As Armour which then blends into the faced paced technical demonstration of musicianship is Servants Of Possibility.

Following this is final track is easily the most ambitious The Enduring Spirit Of Calamity being the longest track at eleven and half minute’s fits in with aesthetic of the album but demonstrates Tomb Mold’s ability to be able to really flex their creativity and amalgamate a collection of well-placed influences and experimental soundscapes whilst never fully closing that death metal umbrella.

The Enduring Spirit is easily worth the high level of anticipation it has already received with will only be amplified when this is released fully into our sphere.

Cozmic and surreal death metal at its finest. 9/10

Danko Jones – Electric Sounds (AFM Records) [Zak Skane]

Introducing this album we have the meat and potatoes delivery of the tongue and cheek opening title of Guess Who’s Back. The track oozes attitude, which just fills the gaps of the spacious grooves provided by the Danko, John and Rich. Danko spits out every line whilst the guitars and drums are locked in with machine like precision. Just from listening this track we can see why Danko and his boys have earned themselves slots to play along with the greats such as Motorhead and Volbeat due to their big rock star sound fired in such a small package. 

The trio's second track introduces us one of the many party anthems that this album provides. Good Time supplies pounding down stroked power chords and bluesy unison bends from the guitars, whilst low fuzzy bass tones, upbeat drums including some classic rock star swagger is channelled from main man Danko. The title track Electric Sounds provides thumping grooves and pentatonic sounds, which would please any Clutch fan, whilst Danko catchy hooks would make Phil Lynott from Thin Lizzy look down and gleam with pride. The easy-riding track Get High provides major structured up beat riffage with some of the best chorus harmonies that Danko and his crew have got to offer on this album. 

On the second half of the album starts with the playful up tempo She’s My Baby which will wow the girls whist also getting them moving. Eye For An Eye sees the trio delve into Rockabilly territory with Danko channelling the classic singers that have delved into this style prior from the likes of Glenn Danzig of The Misfits and Mike Ness of Social Distortion, whilst also carrying the punk energy of bands like Volbeat. The Thin Lizzy vibes return with the groovy swagger of I Like It and Let’s Make Out continues the sexy groove laden themes sprinkled with some Kiss star power riffage. Their closing track Shake Your City end the album with frantic energy generated by punchy down picked pentatonic riffs, clean cut stabbing grooves and meat and potatoes delivered hooks.

Overall this was pleasantly a good listen. From the first listen you’ll think from the opening track Guess Whos could come off a bit cheesy, but once you listen to the rest of album, you will started to understand that this Dankos sound. It’s loud, bally and a tad obnoxious. If you are a fan of Monster Magnet, Kiss and Thin Lizzy you will enjoy this album. 7/10

Damnations Hammer - Into The Silent Nebula (Massacre Records) [Mark Young]

Damnations Hammer latest opus comes off the back of a number of singles released this year and a support slot on the Summer of Love tour with Sacred Reich. Heavy with doom overtones they acted as a welcome counterpoint to the headliners with their thoughtful and measured approach that placed a firm emphasis on song craft.

And a love of popular fiction, which is always nice to see as inspiration.

Sutter Cane kicks us off and in one song Damnations Hammer show us what they are all about. There is melody, urgent riffing and the feeling that they can go fast when required. This is a great start, possessing some dense bottom end. Everything sounds clear, with guitars on the right side of dirty. Obviously, any song that is devoted to In The Mouth Of Madness gets a thumbs up from me.

Do Not Disturb The Watchmaker slows down with an expansive opening into stomp along. Its clear that writing decent riffs that engage and keep you engaged is not something they struggle with. They really knock it out of the park with Outpost 31 which is an anthem for one of the best sci-fi / horror films ever made (I will not be taking any questions on this), The Thing. This sits within my top 5 films of all time and so when you get any sort of reference to it in music, I hope that it does it justice. And it does, starting with an oppressive subtle opening before breaking out the main chorus riff. Its heads down, as they take you through a journey of assimilation and destruction. Musically they are on point with this, shifting dynamics to suit before they launch into a Wah soaked solo break which completely fits within the arrangement. Quality.

With its pounding drums, Into The Silent Nebula brings a more immediate feeling, upping the tempo with some stop-start riffing and parts that seem to be coming sideways at you. One thing that is consistent is the sense of being to headbang to this, it’s just a riff-fest that falls into The Silent Nebula with a more restrained opening that opts for that lighter touch acting as the other side of the musical coin. Atmospheric, with tasteful solos it is an effective circuit breaker to allow them to reset into The Call Of The Void. It starts as it means to go on with one of those mid-paced riff patterns that just lends itself to moshing. Again, its tight, effective and keeps that high level that has been apparent all the way through with some fabulous riffing which for me is king.

The Hex IV hits with an atmospheric break in proceedings before ushering in The Moon and The Waters Of Death, which starts with a grand arrangement that stomps into place, building into another yomp, with that spot on riffing they have done all the way through.

This is one for those who love their metal occupying that controlled riff space, where they are presented in a way you can chew on them. This is the case here with a thick tone that isn’t muddy, and you can pick out the changes, the triplets and those little tricks that make the songs themselves take on a life of their own. I’ve seen first hand on how these go down in the live arena, they transpose really well and get people moving.

They have a unique approach and style that is all their own. What they do have is that gift to write riff-heavy songs that engage and have that groove to them. They can sit within doom circles or within heavy circles and seem comfortable anywhere. It has the sound just right with enough grit in there to stop it from sounding too sterile. One criticism is that the vocals (courtesy of Tim Preston) just needs something, possibly boosting a little to really hit the songs home. It’s a minor thing and had I not seen them live then it probably wouldn’t have registered. This is a strong offering from them, showing a good grasp of arrangement with some razor-sharp riffing combined with a tight sense of rhythm. What is great is that here is another example of UK metal, of a band that are well honed live and can repeat it in the studio.

Those wanting high velocity and guttural vocals may be disappointed. Those who dig on the riff, won’t be. Its chock full of them and is worth your time 8/10

Roots Of The Old Oak - The Devil And His Wicked Ways (Hammerheart Records) [Rich Piva]

UK band Roots Of The Old Oak play slow, plodding death/doom and the band sounds pretty much like their name, which makes more sense when you hear their debut album, The Devil And His Wicked Ways. In their bio, they mention death/doom with atmosphere, and I can buy that, especially if that atmosphere is an old forest in the UK where the trees want to eat you. Right off the bat I want to call out the vocals, because we are in full growl/death mode here, so if that is not your thing maybe move on to my Mondo Drag review, but if you can deal there, there is some cool stuff going on here.

Atmosphere is the key word here, as an underlying synth line accompanies the slow doom dirge of the opener, I Defy Thee. There is a kind of buzz to the guitars as well that drives the overall feeling of the record, which comes across very heavily on the second and best track on the album, Cheating The Hangman. You get the deep death growl as well as a more screamy approach to the vocals here, and using two vocalists works well. There is a cool, minimalist approach to these songs by the trio, but the sounds they make all mean something significant to the tracks on The Devil And His Wicked Ways. These guys are not going for riff of the year on the next track, Forest Dweller, but I dig the slow grind of the guitar that pairs nicely with the guttural growl just in time for Halloween. 

A Ballad Of Two Ravens is an interesting little instrumental interlude, showing that these guys are not all crunches and screams and is a nice break up of the plodding death/doom. It does get chunky at the end of the two minutes, which leads nicely into the title track that brings and even slower and more plodding death/doom dirge to the listener. My other favorite track is the fastest track on the album, relatively speaking, Cosmic Dark Age. This one has some major old school vibes to it and goes for the more screamy vocals than the guttural growl. Speed this up a bit and you got a death and roll kind of feel, so this reminds me of like a slowed down Midnight. 

You get some creepy spoken word stuff too, doubling down on this being a potential part of your Halloween playlist. We slow it down again with the last two tracks, Allfather and Take The Throne, the former bringing you some nice instrumental doom and the latter rounds out the story (this seems to be a concept album) with a seven-minute death doom dirge in the similar style and quality of the proceeding tracks.

 
If you dig minimalist, slow death/doom Roots Of The Old Oak is going to be right up your alley. Don’t go into their debut looking for a lot of signature changes, complexities, or crossing over of genres, because The Devil And His Wicked Ways has its path and it is sticking to it, no matter how dark and sinister that forest gets. Some may say it is a bit too similar throughout, but if you like this kind of stuff the debut from Roots Of The Old Oak is worth checking out. 7/10

Reviews: Blind Equation, Cairn Temple, Omega Sun, Rock Band From Hell (Reviews By Mark Young, Rick Eaglestone, Rich Piva & Alex Swift)

Blind Equation - Death Awaits (Prosthetic Records) [Mark Young]

Cyber Grind. Emotional Cyber Grind

Full disclosure – this is another genre of extreme music I had not heard of before this dropped in my mailbox. Blind Equation are purveyors of Emotional Cyber-grind, which looks inwardly, taking in all manner of personal demons against a backdrop that consists of hardcore, grind, electronica, extreme metal amongst others. The sole songwriter, James McHenry takes all of these and more, bending them to suit a mood or direction. What I am incredibly conscious of is not forming any sort of opinion before listening to it and to make sure it is an objective review as I can do. Here we go. 

Death Awaits is literally extreme vocals set over what sounds to be 8- or 16-bit software playing and you think ‘oh no, I can’t do it’ then they bring the heavy to it. Not a lot, but enough with the drums and vocals to do enough to somehow make it work. Speedrunning Life is in the same mode, with a gothic feel that falls into electro-black Metal. It somehow works, I know I said before, but I cannot think of any other way to describe it. The speed is comparable to Black metal, the arrangements are what you would find on most black metal releases. As a track, this actually kicks ass, as it motors along with absolutely zero fucks given. 

You Betrayed The Ones You Love starts with an incredibly familiar tune, I confess I’m not up on Nintendo games, but it sounds straight from that ilk. Throwing in some Autotune this hits like J-Metal and then just tramples across multiple genres – pop, BM and more. Unless you are listening to this on a regular basis there is a good chance you won’t have heard anything like this before. You can see why Prosthetic are trumpeting these because they are definitely unique and that’s on the strength of just three songs. 

Fade Away is a blast, shrieking vocals, blast beats and that 8-bit backing sound that gives it that sense of something just being wrong. It manages to out-menace those in corpse paint by some degree. Choke is more of the same, in the same mould as Fade Away as it sounds like a demonic remix of a boyband turned metal. I’m not sure how I feel about it, but one thing is certain is that these are not thrown together. They are crafted to an inch of their life with a care that you wish some of the traditional bands would use. 

Never Getting Better has that Eurodance feel, autotuned backing and I’ve got to say I hated it. Insane beats or not. Hated it. Killing Me (ft Rat Jesu) is just as extreme as you get, with the traditional guitars removed in favour of a Casio keyboard. The aesthetic is fine, the attack is something else because it is full-on, 100mph and although I appreciate it, it confirms to me the adage: The reason you don’t like it is because you don’t understand it. And I don’t understand it, I want guitars and I want it to sound like proper metal. See what I mean? But, as Suffering In Silence (ft. Deathrippa) kicks off, I get it. Replace the bontempi with a guitar and you will have a collection of some of the most technical and extreme metal you will ever hear. It’s just how its presented and absorbed by the listener. 

For me, with my appreciating hat on it’s completely unique in approach. Using electronica, it widens the sonic palette further than what they could possibly do with guitar. That I get, and rightfully they should be applauded for pushing that envelope in what extreme metal actually is. And after all, it is what you want to make it, rather than what someone tells you it should be. The closing track, The Last Glimpse Of Me floats in and is really just the closing tune, played over the credits of a game you have just finished. It’s an effective melding of emotion with technology and it is no different than some of the black metal I’ve heard this year. Scoring it is difficult as it doesn’t resonate with me for reasons given above. Its unique, and ultimately, it’s not for everyone. But it will be for someone. 7/10

Cairn Temple - Deadwinds (Engraven) [Rick Eaglestone]

Indiana’s Cairn Temple summon lost souls with new album Deadwinds

Opener Old Fetid Winds is a slow, brooding track that is laden with hypnotic and menacing riffs complimented by matching vocals and drum patterns – its uneasy nature serves as a great introduction for the fury that follows on Wreath Of Dead-Winds. Coffer’s Fumes is an immediate contender for highlight track as it’s stripped back doom tones, prominent basslines oozing with occult vibes combined with the vocal style and complimenting drums really elevate the track as too do the slow lingering solos.

Easily the releases most relentless track and almost straying into Black Metal territory is Orator it’s feral yet abundant with elements in keeping with the previous tracks, this is followed by a track that could almost be the first tracks twin Hinterlands Cairn drives the album back down to its mist swirling and doom-laden roots. Title track Deadwinds is hypnotically captivating with nice built in soundscapes which are really highlighted during the instrumental parts.

Overall, Deadwinds doesn’t stray too far from its death/doom core and because of it the band really demonstrate an ability to focus on the atmosphere that it creates and construct pieces around the album’s aesthetic.

Menacingly laden with dark purpose. 7/10

Omega Sun - Roadkill (No Profit Recordings) [Rich Piva]

Omega Sun is a stoner rock power trio from Slovenia, which is a sentence I have never typed before, but I am here for their second album, Roadkill. I mention stoner, but you get a bit of the doom and the grunge as well, and dare I say a dash of radio friendly alternative rock/metal. It’s been a while for the band, as their first critically acclaimed album dropped way back in 2017, but Roadkill is worth the wait, as you get six killer fuzzy stoner jams that is nothing groundbreaking stylistically but leverages all their influences (Kyuss, Alice In Chains, Down, Sabbath Worship) to provide an excellent stoner rock experience.

The vocalist definitely has Garcia vibes, and that works for me, especially on the opener, The One. A nice riff and some layered, AIC inspired vocals along with something musically that makes this really accessible. Think Sandviess if you are familiar. A band that would not chase away fans of more mainstream rock. The fuzzy guitar tone works very well for me and is the highlight of the band sonically. Black Dust has a Cantrell style riff to open it up and is a mid-tempo stoner jam. These guys don’t pick up the pace too much throughout Roadkill, and it is fine with me. This is some grungy, stoner goodness. 

Survive is another track in the same vein, led by outstanding guitar work and is best described as a heavier Kyuss. Another slow burner, but never a dragger. Another You is like the other tracks, but you get an almost psych feel about halfway through that takes this track to another level and dig that guitar work towards the end. Great song. Early Morning is some serious Kyuss worship, done very well. This may be my favorite track on Roadkill. The closer, Doomer, is an on the nose titled track that brings more of the grunge AIC vibes (but a less produced version, if that makes sense) as well as a early Trouble inspired riff(!) and is an excellent way to finish out the six tracks on Roadkill.

Omega Sun made their fans wait a long time, but the trio from Slovenia delver the goods with Roadkill. With only six songs the album never outstays its welcome, which is hard to do when you don’t veer too far off your stylistic path on a record. With these six you get all killer no filler fuzzy stoner rock that will have fans of the genre burning one to it often. Great stuff and will be around on people’s year end lists. 8/10

Rock Band From Hell – Music For Late Night Activities (Universal/Central Line) [Alex Swift]

Music For Late Night Activities by Rock Band Foom Hell has one of the most deceiving titles ever. I’m tempted to say it’s just as misleading as the band name, except the Finnish trio's breakthrough is neither sinister nor terrifying. They offer peppy, radio-friendly pop punk with some handy contemporary spins on classic concepts like heartache and being considered a failure. Make no mistake, these are concepts which as a dedicated defender of pop-punk, I'm willing to see executed well. Except, these upstarts seem to have neither the ability to craft clever hooks, nor the emotional authenticity needed to carry the style off.

Love Me Till I Die acts as a respectable if predictable lead single for the album. It's a midsummer pop-punk earworm where most of the words help to convey a sense of joyous days spent in the sun, except from the disconcerting "I just wanna pop shit". Problem being, this band’s music is uninhibited and unchanging. It's empty calorie pop punk. Incredibly delightful in the moment or under certain circumstances, but with none of the boyish humour of Blink-182, the emotional complexity of The Wonder Years, or even the adolescent, rose-tinted charm of McBusted!

Perhaps what makes this collection of songs so frustrating is that at some level Rock Band From Hell understand how to make music with some bite, and ferociousness. A lot of the guitar work on moments like Back2Skoool is cleverly structured and detailed. Equally, Kylie Dreams, tells the story of a man who falls in love with a social networking zealot. They've created a strong rock song with enough wit to follow in the wake of so many other pop-punk victories by emphasising the percussion and giving the guitar a little more room to breathe. However, the overall effect is diminished by the fact that the band insist on overly clean production and trap beats in each and every song. By forcing their music to follow these kinds of particular trends, they make what could be an intriguing first album less compelling.

The highlight of this experience is Sex Is On Fire, which is either wisely or unwisely titled, depending on your perspective. It's a creepy nightclub hit with just the proper amount of wailing guitar and sirens. The heavy percussion on Princess Complex is similar in that it nearly makes up for the awkward lyrics. These moments show that when gimmicks and pointless trend-chasing are minimised, Rock Band From Hell have a lot to offer. The instances where they shine, meanwhile, are less common than I anticipated.

After this release, the bands are at a crossroads. They may choose to play it safe, or they could use their musical abilities to produce something authentic. There is a spark of devilish fury inside Rock Band From Hell. If they could channel it, they might develop into the stadium-filling band they want themselves to evolve into. We can only hope that their future work will feature greater risk and intensity. 3/10

Reviews: Torpor, Outergods, Conquer Divide, Starmen (Reviews By Mark Young, Rick Eaglestone, Alex Swift & Rich Piva)

Torpor - Abscission (Human Worth) [Mark Young]

This is the third album from Torpor who hit the UK later this year with a run of shows starting in October. Looking online at their socials and accompanying release from label Human Worth, they have taken what has come before and looked inwardly, with this filter spewing forth this collection of doom and sludge. There must be something in the water in Bristol, because it is responsible for some of the most impenetrable and dense music being recorded in the UK today.

Interior Gestures ushers in a ten-minute journey through controlled soundscapes, running from the intensively heavy to the almost soft introspection given from a spoken word passage. This isn’t just an oft-repeated chord or motif it has a solid groove in place that does enough to provide energy for the listener to feed off as it makes its gargantuan move to the finish line. It’s not an easy listen though, as this is insanely heavy, grinding through several changes in motion and attack. It is also one that warrants you to sit back and just get taken in by the sheer size and feel of the sound. Monstrous. 

Keeping within that intent, As Shadow Follows Body has an unearthly, almost frozen pace twinned with one of the lowest ends I’ve ever heard. Guttural vocals, sometimes matching, sometimes not as it builds to a crescendo, trading off against cleans that suddenly fall away to leave you with what feels like sound without a skin. Its unnatural and then the resulting BOOM as they come back in with the riffs is something to behold. The structure and arrangement is just top-notch, and it just batters you as there is nowhere to hide from it. At volume, it is a wonderful thing, just wonderful.

Muted drums on a loop heralds the start of Accidie as another thunderstrike comes in that almost brings an industrial tinge to it. Everything is built to almost machine-like tolerance, nothing is wasted or overused, it moves to its tortured end to allow Carbon to run straight from it – anguished screams, feedback, all of it controlled to literally explode in speed and then slowly fall away. It’s an absolute headfuck of a song, showing up their love for Khanate but achieving its aim in a third of the time. 

And then it’s the slowly building start of Island Of Abandonment as they hold you in their palms for the next 11 minutes. It comes waves, the guttural vocals once more set against that repeating stabbing pattern, joined by the lowest of low-end assault. If you can imagine a giant, buried by time and tide, slowly waking and digging itself out, shaking soil and dirt from its massive frame then that will give you a comparison to how this song takes shape. It just gets bigger, swelling and probing for a weak spot to overcome and just flatten you. Its monstrously heavy without resorting to repeated ad infinitum guitar. It moves on its own timescale and to its own accord.

Anybody who reads my reviews (hi you two!!) will know that I’m not a massive fan of doom, sludge or the slower end of extreme metal. However, that doesn’t mean that I cannot recognise a prime slab of noise when I hear it. And this is what you have here. It is just massive, so no matter how I describe it you won’t get it until you listen for yourself. 8/10

Outergods – A Kingdom Bulit Upon The Wreckage Of Heaven (Prosthetic Records) [Rick Eaglestone]

Fully ripened for their Bloodstock performance Nottingham, UK extreme / death metal group Outergods unveil debut album A Kingdom Built Upon The Wreckage Of Heaven

The snarling delivery on Nocturnal Death sets the tone of records and spills into ODSM territory with a maniacal twist vocally for Into The Howling Void. Faceless Entities is easily the albums most blistering gem, you get full on assault to start and even in the background there are subtle touches of menace, its basically the equivalent of black coffee make with 10 tablespoons and a river of sugar and there is no follow up love ballad as joining this is Tangled In The Cogs Of The Nightmare Machine which is not only my highlight track but one that bleeds the aesthetic of the album as a whole.

In under a minute Abandoned At The Centre Of A Celestial Hell with it’s ominous instrumental has already made me consider turning all the lights on before its follow Nothing But A Fetid Worm bludgeons my eardrums, again its swirling amalgamation of chaos is laden with subtle elements that only add the dynamic and well, that guitar solo is top tier on a Honey Roast Peanut Butter Level

Both Catacombs Of Madness and Flesh Prison very much follow suit before final title track A Kingdom Built Upon The Wreckage Of Heaven comes in a whopping seven and half minute a lays waste with some spectacular musicianship, varying tempos, crushing riffs and my favourite vocal delivery of the release.

A feral beast of a record. 8/10

Conquer Divide – Slow Burn (Mascot Records) [Alex Swift]

Even though it would seem a little presumptuous to call your sophomore album Slow Burn after eight years in the works, Conquer Divde are certainly careful about their creativity and, a few years after their brief hiatus, prepared to resume their musical careers. I listened to their self-titled debut in my research for this review and was somewhat disappointed. There was definitely potential, but despite a few outstanding pieces, their blend of metal with melodic hard rock, felt lacking in a unique identity.

In spite of my gripes with the debut, the group is not only reinvigorated with the release of their follow-up, but the combination of styles also sounds much more polished. They seem to have veered more towards both their growling, visceral side, and larger hooks than previously. As an illustration, the album's first track, Atonement, begins with a pounding rhythm and Janel Duarte's roaring vocals, while the majestic beauty of Kia Castillo's sung refrain makes good use of those hook-writing abilities. Newheaven, by contrast, makes a sharp change, bringing electronic sounds to begin with before unleashing a massive, arena-ready crescendo later on.

The tracks as a whole are made stronger by these components, which successfully lend them more richness and texture by extending the aural spectrum into more ethereal and moody areas. The background atmosphere especially helps welcome2paradise, giving ecological calamity forecasts a greater impact. The drumming has also been improved, with booming patterns that support the emotive melodies of songs like Pressure.

System Failure is one of the best songs on Slow Burn and has all the makings of a possible live staple thanks to its erratic middle-section, intense vocal exchanges, and memorability. It's an excellent example of the band's aggressive side coming out, without giving up that arena potential. Even as they lead into the second half, the band maintains a high level of performance. Invisible shifts to a desolate, string-backed lament from the ferocious roars of afterthought. Finally, the album's closing track, gAtEkEePer, has a terrible name to write but is a fantastic song that details the band's struggles and their tenacity in spite of them.

Conquer Divide's Slow Burn is still a very accomplished record, even though musically they aren't doing anything new. It is an improvement over their self-titled record in every way, managing to both turn up the intensity and maintain the anthemic and chorus-crushing intent of the band's previous work. Even though it took several years to come out, Slow Burn has been worthwhile. 7/10

Starmen - Starmenized (Melodic Passion) [Rich Piva]

A couple of weeks ago I grabbed an album labeled “glam” from the promo folder, not really knowing what I was getting into, thinking it was most likely a 80s Hair Band retread the I was going to most likely hate. As it turns out it was the Velvet Insane record that I just can’t get enough of and is one of my most listened to albums so far of 2023. The glam in question was Bowie/Bolan worship, and I am always down for that when done well. 

So why not take a second flyer on a band calling themselves glam? Well, here I am with the new Starmen album Starmenized, and at this point I would have preferred the 80s Hair stuff, because this one is pretty much AOR drivel that doesn’t really bring anything of interest or any type or unique idea to the table. So, not so glam at all, but you would not know that looking at their promo pictures as they all have Kiss inspired star patterned full face makeup. This is all starting to make sense now. Starmenized is the Swedish band’s fourth album since 2020, and the least glam of the batch based on my initial research, and that is a shame, because there is nothing of interest for me here.

As a reference point musically, think Hot In The Shade 90s Kiss, but without any of the good songs on that album. Like the ones that were written and thrown away. I like Hot In The Shade, so this is not fair to that album. Dude sounds eerily like 90s era Paul Stanley. Like scary, to the point it freaks me out a bit as a huge Kiss fan. They have songs called Rockstar and I Die For You, which is a bit too much on the nose. 

Points for the opening track Liar, which sounds a bit like one of the more rocking Mr. Big tracks and is the highlight of the record. The noodling guitar work is both interesting and annoying at the same time. It’s really all downhill from here. Rockstar is lame lyrically and quite cringeworthy. Back to Kiss, this could be a B-Side to the Australian single of Torpedo Girl. The production on Starmenized is weird, just check out the drum opening on Tears Never Dry, which hits a 10 out of 10 on the Stanley imitation scale vocally. Don’t Kiss cover bands do pretty well these days? 

There is a song called Radioactive which is unfortunately not a cover of the one from the Gene solo album and sounds more like a very band Eurovision reject (can I say this as an American?). I had to turn off the song called Word Up as the cringe was just too much for me. This is like bad Paul solo album stuff. The title track closer tries to be heavy but the production does not allow it to get anything more than a strong whimper, and once again the cringe factor is off the charts.

I am one for two with albums labeled glam. I think the industry needs to redefine that category, because this is not glam. It takes more than painting your face and playing neutered hair band rock to be glam. The Starmen should reconsider putting four records out in three years and figure out what they are going for, because Starmenized is not good and maybe quality would trump quantity for them. That or they can be the first Kiss cover band to focus on the Unmasked through Hot In The Shade part of the catalog. 2/10

Review: TesseracT (Review By Matt Bladen)

TesseracT - War Of Being (Kscope)

Now in their 20th year as a band, Daniel Tompkins (vocals), Acle Kahney (guitar), James Monteith (guitar), Amos Williams (bass) and Jay Postones (drums), drive forward with the next chapter of UK progressive metal icons TesseracT. Having arrived right at the apex of the 'djent' explosions, the band have used each subsequent album to adapt their sound, rooting it in the chunky tech riffs that they helped popularise but adding atmospheric shimmers, focussed aggression and colossal hooks.

They've taken trips to the upper atmosphere and down to the core of the Earth itself on previous albums but with a five year gap between records, punctuated by off shoot bands and solo projects, TesseracT feel they need to redefine themselves once again with their new album War Of Being, a cinematic, complex concept album which has an emotional, quasi-personal storyline that is based on an as yet unpublished novel by Amos Williams. The characters of Ex and El find themselves in a world called Strangeland, they are split up and have to progress on their own journeys of self discovery and introspection.

As it's a prog record the concept and storyline is multi-layered the story told in scuh a way that you can relate to the characters and emphasise with them. Musically TesseracT give use their widest array of soundscapes yet with War Of Being, starting out with Natural Disaster setting the pace on a rapid cut that flits between various melodies, establishing the prog credentials early. Echoes brings the djent beginnings as The Grey relies on the palm muted bass from Williams and blasts of ferocity where Dan Tompkins unleashes his screamed vocals. There are few vocalists better than Tompkins, pretty much setting the bar for techincal prog metal vocalists.

On the throbbing Legion for example he exemplifies using restraint with a track that builds the atmosphere, drifting in and out of a spacial dream, punctuated by a rhythmic thump as that shimmer carries over into the introspective Tender where the guitars if Monteith and Kahney are clean and echo, augmenting the lighter touch of Tompkins, the drums entering to build again, as it shifts back to the sparse opening into euphoric final part where there's a colossal breakdown returning to more heaviness as the track closes out.

It's this usage of dynamics that have been such a key part of what make TesseracT so impressive and War Of Being's conceptual design means that they can take things further than before as the tracks can link to one another thematically, so after the catharsis of Tender, the title track kicks off with crushing tech metal, shifting from loud to quiet and then back again, the albums heaviest moment by far, raging and torrid, but it also stands as their most progressive moment too, evoking various changes in tone and style across 11 minutes of delicious modern prog metal. Twisting into the ringing, Sirens, electronics lingering and pulsating below the surface.

Sirens takes you into the final part of the album, the penultimate drive of Burden, schizophrenic basslines and dreamy vocals paired with more grooving, chunky riffage. It all culminates on the final song Sacrifice, an 8 minute exploration of all the facets of TesseracT, it climaxes in euphoric choruses making it the most anthemic number on the album, as the bass driven middle section turns into more big riffs as the huge hook returns to finish this magnificent album.

War Of Being is TesseracT reaching their nadir, a conceptual masterwork that speaks to the strength of the UK metal scene. 10/10

Reviews: Myrath, Domkraft, Lowdrive, Promethium (Reviews By Matt Bladen)

Myrath - Karma (earMusic)

Having carved a niche as one of the leaders of the 'Oriental Metal' scene, Myrath are now on their sixth album and Karma takes them further down the progressive/power meets melodic rock route they have been evolving into over the last few albums. 

Comparisons have been made to bands such as Orphaned Land on their first two albums but I'd say now Myrath are more akin to Kamelot, Evergrey and Symphony X, their last couple of releases still retaining the native rhythms of Tunisia, on Candles Cry, but increasing the kind of music that has them go down a storm at ProgPower festival, they headlined this year's US addition. Karma is packed with virtuoso performances from guitarist Malek Ben Arbia, the switches between choppy riffing and solos is easy, bassist Anis Jouini who fills any gaps with nodding and drummer Morgan Berthert, who plays all over the kit even on the simplest offering. 

The instrumental trio, combine to balance the multiple elements of Myrath's sound, as well as getting to showcase this own abilities. But it's not all style over substance as these performances are put into hooky compositions that allow Zaher Zorgati to use that excellent vocal range on huge choruses and the giving some stink to the funky The Wheel Of Time. The cinematic quality brought by Kévin Codfert's keyboards, he proves himself to be invaluable with the piano and swelling strings on the upbeat progger Into The Light, but really is the defacto fifth-Beatle on Karma. 

With Let It Go and Words Are Failing, Myrath display with their melodic rock chops, but with high levels of techincality and some horns too. Myrath continue to be a band who are laying their claim to be the continuation of the legacy established by the bands I mentioned earlier, doing it with their traditional influences (Child Of Prophecy) makes Karma a rewarding listen for prog/power friends. 9/10 

Domkraft - Sonic Moons (Magnetic Eye Records)

Ground control to Major Tom, forget the protein pills and spark up that bong ready for anothe cosmic adventure with Nordic spacemen Domkraft. Driving the fuzz up to maximum overdrive Domkraft, bring you through the wormhole of both psych, sludge and doom reverbed to hell on track such as Stellar Winds where the focus is sharpened to still swell into towering doom epics but also knuckle down into a concentrated space rock attack.

Similarly to labelmates Slomatics along with Monolord and Kal-El, they rely on rattling your bones with the psych drenched appeal of Monster Magnet and Hawkwind, on the lumbering Magnetism which hooks on hypnotic repetition. Bassist Martin Wegeland, anchoring the song with low end fuzz and his anguished vocals shouts. Drummer Anders Dahlgren a sledgehammer with precision on Slowburner and fury on the bludgeoning Downpour and Black Moon Rising which takes them back to the sludge beginnings Martin Widholm's phased, distorted guitars evoking Matt Pike.

Domkraft bring more intergalactic noises from the dark abyss of space, tune in and let them show you their space odyssey. 8/10 

Lowdrive - Rise (Jet Glow Records)

Back in 2018 Lowdrive appeared out of the Sheffield scene. Featuring former members of Goat Leaf and Warrior Soul, their riff.oacked debut Roller straddled heavy metal and hard rock dropping in some sleazy stoner riffs too, just so you'll reaching for your trucker cap and plaid jacket. That was back in 2018, but in 2023 they return with its follow up Rise but the song remians the same, dirty hard rock riffs which are plucked from influences such as Orange Goblin, Viking Skull and Monster Magnet in a track such as Chemical Child.

Filthy distorted guitars and bouncy grooves come on the title track and Into The Light, snarled beer swilling vocals barking out the party choruses. Music designed to be played live, as often as possible, as loud as possible, there's a defined blues base to tracks such as All Seeing Eye, Lowdrive keeping one foot in the blues even in their heaviest movements. They can have swing with ballsy strutters such as Supergravity, while Shield Wall drives along with woozy psych bass, slow burning into a smoke filled head nodder, the hailing of the leaf continuing on Dope Priest.

A long time coming but a loud return from Lowdrive who continue to worship the riff but also can kick your ass with a chorus to lose your voice too. Grab a beer and turn it up. 8/10

Promethium - Bleeding The Ghost (Self Released)

Promethium's fifth album has been a few years in the making, originally beginning in 2020 the pandemic and line up changes have delayed it, but with a new drummer, a new singer and another guitar player, Bleeding The Ghost is now here and starts a new chapter for the band. Promethium's sound blends thrash/groove with melodic tendencies building from the instrumental opening GOAT, the classic metal riffs of the title track gets things going with pace. 

The new singer's voice brings that raspiness of Fury's Julian Jenkins, and musically Promethium play a similar kind of music to those Fury EP's before they brought in the hard rock edge they have now. Considering the singer hasn't got a background in metal music but he fits perfectly in this band. The classic metal sound continues on the bass driven swinging of Priest, as Murder She Wrote and Healing Your Sin bring the thrashier sound. 

Promethium are an experienced band, and I'll be honest I'd heard bits of their earlier stuff but Bleeding The Ghost impressed me with the melodic metal that reminds me a lot of Avenged Sevenfold, Godsmack, Disturbed and even Trivium, the focus on clean vocals over harsh ones meaning they can do tracks like ballad Manhattan or the string laden My Fate. Classic, thrash and groove metal brought together well on Bleeding The Ghost. 8/10

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

Elkapath, Puzzle Tree, Celavi, Pyrogaric, Daughters Of Darkness, Green Rooms, Trefforest, 08.09.23

Female fronted is not a genre, that we can all agree upon. This absolute fact was totally evident by the diversity of bands on offer at Green Rooms on a sweltering Friday night in September (British weather is weird innit?). 

First up in this practice studio-cum-venue were The Daughters Of Darkness dance troupe. Pairing dance routines, both group and individual, with metal tracks it was creative and well choreographed, lots of talent on display as they got the crowd warmed up for the musical acts. With a darker more gothic edge than other metal/rock dance troupes (scary clown paint). There were a lot of supporters in the crowd as they raised the temperature, higher than it already was.

First musical act though was two piece Pyrogaric (7) having seen them a lot on the last year, the tracks are now very familiar, but they managed to throw in a new one too to shake up the set. Not the guitar tone seemed a bit fuzzier than normal tonight but the vocals were still excellent. Always giving a good show Pyrogaric are a treat for fans of retro infused rock.

Now to something completely different as Celavi (7) came all the way from Bangor in North Wales to play the Green Rooms, bringing with them gothic nu metal grooves, some dancey electronics and bags of style. With their normal guitarist playing drums there were a few issues with the on stage sound and the mic cut out a number of times. But again the crowd were definitely enjoying their set, the additon of two Welsh language numbers a particular highlight. They brought energy to the room considering how far they had come.

Speaking of energy, what can I say about Puzzle Tree (9)? The band of the night for me as they multifaceted heavy riffing made me stand open mouthed at just how bloody good they are. Front woman Rachel never stops as well as grooving, posturing and moshing, she also has voice that is incredibly powerful, the harmonies from guitarist Matthew Alexander Powell lifting up the hook laden choruses. The right mix of everything I like in music a bit rock, a bit prog, a bit grunge, a bit metal, the band are slick, drilled and give plenty of riffs, solos and sing along moments, but with an underlying techincality, that appeals to nerds like me. Puzzle Tree smashed it out of the park in The Green Rooms. This was my first time seeing them but it won't be the last! 

Having to follow that were the nights last band Elkapath (7) who had organised the whole shebang to showcase the wealth of talent in the UK scene. Moving things into a spookier, more occult direction, they are a horror metal band with ethreal cleans and growls coming from the singer while the band played gothic infused metal behind her. Elkapath are supporting their latest album on this tour, so the bulk of the set came from there, bewitching and beguiling while also getting the head nodding. It was heavy riffs in the verses that shifted into soaring choruses, the extreme metal influences dragging it down into the depths. 

A unique act to close out an entertaining night of music on Trefforest Industrial Estate, reiterating that female fronted is not only NOT a genre, it's lazy, sexist journalism.  

Reviews: Cryptopsy, Dying Fetus, Slomatics, Nasty (Reviews By Danika Ulrich, Matt Bladen, Rich Piva & AV4APod)

Cryptopsy - As Gomorrah Burns (Nuclear Blast) [Danika Ulrich]

For eleven years Canadian death metal pioneers Cryptopsy kept their fans waiting for a follow up to their self titled album. The long awaited As Gomorrah Burns has found the appropriate home with Cryptopsy joining label, Nuclear Blast Records. If you're a regular listener of the more extreme metal like I am, you know how difficult it gets to find bands who can still make you feel excited by the intensity of their music but, with the wait since their last it's safe to say there has been a massive buzz for what As Gomorrah Burns holds (and rightly so).

The album's opening track Lascivious Undivine accomplishes its purpose as a short but sharp punch with a powerful vocal performance at the song's climax and a nasty breakdown at the end. Sure, it’s a little generic for the band but a strong start to the album. Godless Deceiver features a groove that I wouldn't say is typical for their work but I can definitely get behind. 

Although, the drums are something from the earlier days of Cryptopsy. They relentlessly maintained throughout the whole nearly four minute track giving me no break before the next one. Track 6, The Righteous Lost, stands out the most to me. You never know what will happen next as the song alternates between pure heaviness to technical absurdity. A favourite part for me is the solo that appears towards the middle. No fancy riffing is used but rather played in a cryptic way that matches the bands signature style.

There is no doubt that the band has returned to take centre stage in the death metal arena. The sense of tech-death infuses every track. Whether it’s the structure or the tone I never knew where it was going next but I couldn't wait to hear more. It sounds more cultivated and contemporary whilst still paying homage to earlier albums. With the arrival of As Gomorrah Burns, Cryptopsy are now poised for another era of death metal supremacy. From beginning to end this is amongst the best death metal albums I've heard this year. 9/10

Dying Fetus - Make Them Beg For Death (Relapse Records) [Matt Bladen]

Why not Dying Fetus? This mantra has become a talisman for the metal fandom, whenever a band pulls out of a festival or a gig inevitably someone will shout or comment "why not Dying Fetus?" this is especially funny when it's a pop or alternative show/festival. The reason why this is so funny is that Dying Fetus are probably one of the most extreme metal bands on the block. Marble gargling vocals, discombobulating grooves, shredding lead breaks and more anger than Trump fans at the Democratic Party Convention, Dying Fetus have carved themselves as one of the leaders of brutal techincal metal. 

Make Them Beg For Death, the ninth album, sees the the band helmed by founder John Gallagher collaborating with longtime producer Steve Wright, not trying to reinvent the wheel, they have taken this long to nail down what they are as a band, so why would they change it? Mixed to ear splitting intensity by Mark Lewis, they beckon you to Enlighten Through Agony with the first song, but as they carry on the record brings Undulating Carnage, which is the best descriptor for it, they do the same with Unbridled Fury where the title explains what the track is going to sound like. It's almost like they are trying to pastiche by making things too obvious. 

Trey Williams, who obliterates his kit throughout, but especially on the stop start Raised In Victory, Razed In Defeat, mentioned that Make Them Beg For Death carries on where their last album left off, Dying Fetus content to let everyon else try to outdo each other while they churn out more disgusting death metal. The amount of noise this trio make is deafening Gallagher's guitar willdy flailing in patches as the bass of Sean Beasley looks set on gutting you like a salmon, both men trading roars and growls across these ten tracks. 

Inspired by the American death metal scene but adding industrial-like mechanical repetition in the grooves and slam metal beatdowns Dying Fetus are still right up at the peak of the heavy scale. Determined to Make Them Beg For Death, Dying Fetus pulverise as per. 8/10

Slomatics - Strontium Fields (Black Bow Records) [Rich Piva]

The Belfast, Northern Ireland band Slomatics have been around since the mid-2000s, pounding us into submission with their take on fuzzy, doomy sludge are ready to unleash their eighth full length, Strontium Fields. While the band has been around for a couple of decades, I have not spent too much time with their material, so let’s see if that changes after hanging out with the new one for a bit.

So, fuzzy doomy sludge is a pretty accurate description for the eight slow burners on Strontium Fields. The opener, Wooden Satellites crawls along, growling at you as you encounter it face to face. There is a crunch to it, and I can see immediately why the band is named as it is. I, Neanderthal sounds like some serious doom, with the opening guitar and synth riff (which I love), until the pace picks up (for them) and the big vocals takes over the track. But make no mistake, this is a colossal doom/sludge hybrid ready to take stuff out. Heavy, with a sense of atmosphere. 

The keys are the key here, and the next track, Time Capture, is the perfect encapsulation of this. This track is heavy in a different way, with pretty much just voice, synth, and drums practically pleading with the listener to understand and act accordingly. This track is a definite pivot from the rest of the album, yet still nicely fits the vibe. Like A Kind Of Minotaur sounds like a song called that should, with a killer crunchy riff and a heavy gallop of destruction leading the way. I love the synthy doom vibe. 

Voidians is the slowest of the slow burns, bringing the album to a literal crawl with a fuzzy riff that actually reminds me of Type O Negative. While nothing is bad, the last couple of tracks after the interlude type track Zodiac Arts Lab are very similar to the rest of the album which puts a bit of a drag on the record.

Strontium Fields gave me enough to go investigate more of why Slomatics have been around for so long ands have the following they do. I dig the doomy sludge vibe and the use of synths for sure. The atmospheric sludge heaviness is something that fans of that kind of work should dig when they check out Strontium Fields, but be warned the tail end seems a bit long and repetitive, but overall this is a strong album number eight from Slomatics. 7/10

Nasty - Heartbreak Criminals (Century Media Records) [Quinn Mattfeld @AV4Apod]

I have a deeply ingrained aversion to machismo. It's like an overly sensitive allergy or how the mole-people can smell residual sunlight on your skin… At first pass, Nasty sounds like music made by, for, and about guys who are mad at their ex-girlfriend(s). 

The lyrical refrain of the album opener, "All roses turn to dust…" ought only to add to my personal aversion to the record and yet, the sheer force of the music is undeniably thrilling, and at times, even moving.

Nasty are releasing what is their eighth album, Heartbreak Criminals and for a quartet of tattooed bros who consider their music “hardcore beatdown” something about the whole project is deceptively endearing. They also describe themselves as “Four dudes doing fucked-up music for a fucked-up world.” 

So one might watch the opening moments of the video for their 2015 release Shokka in which piles of cash and luxury cars are intercut with Uzis and dancing girls and miss the lyrics “Face reality / The face of Humanity / Endless cruelty / Violent demise in a State of Emergency!”

Nasty opens and closes the album like Pantera on meth and stomps unapologetically forward with lead vocalist Matthias Tarnath alternately channeling Fred Durst and Marilyn Manson on Reality Check, but something really interesting starts to change as we reach the title track. 

Gorgeous vocal melodies begin to sprout from the piles of ash left over from the album opener and deep into the record’s second-half, Kiss From A Rose has a wonderful moment of distinction in which the wall of sound drops and what is presumably the voice of Tarnath says, “fuck it” in an almost delightful belgian accent before the melody soars, finally descending into a cadence borrowed from American Hip-Hop. 

The first half of the record lacks the diversity of influences on it’s B-Side but Heartbreak Criminals is a sonic pummeling from a Hardcore, Groove, and Hip-Hop inspired quartet made infinitely more palatable for those of us who despise the swaggering bro-metal of Five Finger Death Punch and Breaking Benjamin by the virtue of the band originating in Belgium. 

If you’ve ever been to France, you know machismo is not an American export. And while Nasty showcases all the tropes of popularized American-male-aggression, like the music itself, that outward presentation is an armor for something much more vulnerable, human, and compelling. 8/10