M2TM South Wales 2024: Cardiff Heat #1 Interview With Excursia By Paul Hutchings

Interview with Excursia – Heat 1, M2TM, Fuel Rock Club, Cardiff 8th March 2024

1. Let’s start with introductions. Who is who and what does each person do in the band?

Excursia is comprised of Adam Rapado on vocals, Sam Hill shredding guitar, Scott Price on Bass, and Dylan Jarvis blasting Drums

2. Where are you from and how long have you been together?

The band was formed in 2016. However, our current line up (excluding Sam) have joined the band within the last 2 years.

3. Describe your music in five words.

Energetic, Aggressive, Progressive, Political, and Patritoic

4. What prompted you to apply to be part of Metal to the Masses – South Wales?

M2TM is a great opportunity to showcase our new sound to more audiences, needless to say about the opportunity of playing one our favourite festivals of the year.

5. If you have played Metal to the Masses before, tell us about your previous experiences and importantly, why you’ve returned!

Previously Excursia have had good success in the competition. However, with our new songs, new vocalist, and new direction, we’re hoping for the same success, if not more.

6. Bloodstock is a big festival – have you attended the festival in the past? If so, what would you say are the best things about the weekend?

We’ve never been as it can be difficult to afford going to these festivals if you’re not playing whilst striving to become professionally sustaining musicians, so winning this competition would also give us a chance to enjoy the metal family experience that bloodstock is so well known for

7. Apart from Metal to the Masses, what do you have planned for 2024?

We’ve got big plans in the pipe-line for 2024. We have a single releasing every month between January and March; a tour also in March across North England, South Wales, and Bristol; and we’re also continuing to write, as we gear up for time in the studio.

8. What can we expect from you in your heat?

A lot of sweat, blast beats, and shredding.

9. And what are you expecting in your heat and journey through the competition?

People may die. But, that's a sacrifice we’re willing to make.

10. Finally, where can people find details of the band – promote your socials here!

Linktr.ee/excursia

https://www.excursiamusic.co.uk

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

Rick Wakeman & The English Rock Ensemble, Bristol Beacon 28.02.24

Traffic chaos awaited my journey to and from Bristol as the penultimate day of February obviously caused mass hysteria on the roads. It meant that I arrived a mere 2 minutes before the start of the show, thank the prog gods for a delayed doors opening, so we were able to catch the aperitif to this mighty musical feast. 

Rick Wakeman (9) for those uninitiated, is one of the most recognisable multi-time member of prog rock titans Yes. Having played the keys/organs/synths/Moog on many of their biggest hits and best known albums, he also has a number of revered conceptual solo records as well as being a radio DJ, public speaker, talking head and writer. With talk of retirement abound I made a special trip to take in this show especially as it was comprised of the Yes set developed for his Royal Albert Hall shows from last year and his seminal Journey To The Centre Of The Earth, the entire hour long spectacular rejigged for this modern version of his band The English Rock Ensemble.

So to the band and with The Caped Crusader himself in the middle of the stage surrounded by banks and banks of electronic equipment, to the right of him, son Adam also on keys and additional guitar, giving the people what they came to see and on the encore of Starship Trooper, duelling with keytars. The main crux of the rhythms though come from bass superstar for hire Lee Pomeroy, drummer Adam Falkner and guitarist Dave Colquhoun, who gets a surprising amount of guitar solos for a show directed by a keyboard player. All prog veterans the band were well drilled and nail every musical moment, a slab of rock here, a touch of folk there, whether it’s the Chris Squire bass grooves of Roundabout, the wispy beginning of Wonderous Stories, or the massive bombast of Journey’s…orchestral leanings it’s all brilliant. 

With so much instrumental talent you may overlook the singers, but do so at your peril as the trio of back up singers manage to not only incorporate the choirs of Journey into just the triumvirate on the stage but also send chills down the spine on the chamber choir opening to The Meeting which forms part of The Yes Suite, they even bring main singer Mollie Marriot to tears before she has to compose herself to belt out And You And I. Having a soul/rock n roll singer handling these tracks is an inspired idea which anyone who has heard Magenta’s Wonderous Stories will attest. Her voice brings a new dimension to these reworked compositions and takes every part on Journey admirably.

Rick himself is well within his element, squinting to see the small dials on his instruments, but never failing to hit a mark, those solos and melodies he’s played for many years coming organically from the ends of his fingers, the between song breaks allowing him to crack a few quips and embrace the Grumpy Old Rick persona he’s worked so hard to cultivate. The short Yes Suite, is a warm up really, the 20 minute interval allowing all to use the toilets, (the longest queues of the evening), including Rick himself before we strap ourselves in for the fully fledged musical interpretation of Jules Verne’s novel and that encore I mentioned earlier. 

Receiving rapturous applause all round, it looks like for at least the next year, Rick will just be retiring from solo shows as he plans to bring King Arthur on the road in 2025.

Reviews: Sonata Arctica, Haunt, David Reece, Wade Black's Astronomica (Reviews By Matt Bladen)

Sonata Arctica – Clear Cold Beyond (Atomic Fire Records)

In the pantheon of power metal, Finnish band Sonata Arctica stand alongside Stratovarius as one of the country’s finest. While the latter brought neo-classical wizardry, Sonata Arctica have always been more driven by euphoric choruses and lyrics inspired by unity and folklore. It’s a different type of music but still as magical. They now have 10 studio albums, tours all across the planet and fairly consistent line up led by enigmatic vocalist Tony Kakko and last remaining founding member Tommy Portimo (drums). I was a little worried as their last two releases were fully acoustic, so would the transition back to loud be difficult or had we lost them to traditional folk music forever. 

Thankfully the answer is no as their eleventh album gets underway with the propulsive power metal of First In Line, Portimo’s drumming set to light speed as Pasi Kauppinen basslines gallop like runaway horses keeping things fast for Henrik Klingenberg (keys) and Elias Viljanen (guitars) virtuoso interplay, it’s classic Sonata, instantly recognisable from those unique Kakko vocals and the tinkling, bardic charm of their music. Angel Defiled gets back to business with more melodic metal, any notion of not being a heavy band anymore gone in an instant as even the band themselves felt they needed to get back to the metal of their early days. Tony finding himself in creative glut back in 2022, so most of these songs, as well as some for the twelfth album coming from there. 

It’s almost like they needed to return to metal to wipe the slate clean and bringing in long term mixer (1999-2012) Mikko Karmila on production, to make Clear Cold Beyond ‘feel’ like old school Sonata, though Cure For Everything goes further with their heaviest song for a while. It’s not always a million miles an hour though The Best Things puts together Eurovision balladry with Christmas instrumentation, the drama increasing again on the title track, those vocals still sonorous and theatrical, Dark Empath which is a sequel to Don’t Say A Word, carries the most dark storytelling. The environmental message the band have touted coming on California as A Monster Only You Can’t See has orchestral swells that only come from Trans Siberian Orchestra. 

The only major criticism is that I’d have liked they lay out to be a bit more spread as all the ballads come towards the end, and personally all Sonata albums should be released around Christmas, maybe it’s a Nordic thing but their music just suits that season. This little bit of silliness aside, Clear Cold Beyond is a bombastic return to metal for Sonata Arctica, keeping the pedestal they are on intact. 9/10

Haunt - Dreamers (Self Released)

Trevor William Church returned with his latest album, Dreamers is his tenth studio release, which is insane to think about when Haunt has only been a band since 2017. Church has always been a workhorse, recording and playing most of the early albums by himself he still takes the vocals, guitars and bass but now brings his live band into the studio with him as guitarist Andy Lei appeared on the last album Golden Arm in 2023, but he's added drummer Andy Saldate and bassist Sam Harmon for, I think, the first album where Haunt is a 'band'. 

It means that they can bring wider arrangements, with acoustics layered through Serenade, Steel Mountains, bringing some synthy 80’s beginnings, before shifting into galloping battle metal full of gorgeous dual harmonies from Church and Lei, the 80’s styled gothics also coming through on Send Me An Angel, edging Haunt further away from the NWOTHM they have been part of with more influences from other 80’s musical groups. I mentioned on Golden Arm that this diversification was good for the longevity of the group and in this band format, there’s a collaborative feel that can only come from a drummer playing the drums a bassist playing the bass etc. 

They do things that perhaps Church may not have thought of before so it’s a more authentic musical vision, retaining the NWOTHM gallop and chug, but adding some AOR melodies, sleaze/glam rock ala W.A.S.P to make sure that Haunt will probably stay relevant and entertaining for another 10 albums! 8/10

David Reece - Baptized By Fire (El Puerto Records) 

David Reece is a bit of a classic metal icon, having been the singer of Bangalore Choir and Accept, his gruff, sneering vocals are perfect for aggressive heavy rock. The kind you’ll find on Baptized By Fire, his most recent solo album and his heaviest to date. 

He owes much of this shift to bringing together a band of musicians from his adopted home of Italy, the musicians from this huge rock and metal scene ripe for the picking so Riccardo Demarosi’s bass drives Wrong Move and Twilight Of The Gods, Giovanni Savinelli’s drums give We’ve Lost The Right some swagger and brings power on Payback’s A Bitch while Niccolò Savinelli guitars grind on No Rest For The Wicked and shred on Seasons Of A Man, the latter sounding like something off a Blaze Bayley album. 

With this trio providing the gruffer, more muscular heavy metal instrumentation, Baptized By Fire is definitely the heaviest thing David Reece has been a part of for a while now. Vocally he’s able to really show off why he should be fronting more metal bands. Though of course he can just record as a solo artist and keep churning out quality heavy music. 7/10

Wade Black’s Astronomica – The Awakening (ROAR! Rock Of Angels Records) 

Having spent three decades in the heavy metal industry, Wade Black may not be a name you’ll know but he’s been part of bands such as Crimson Glory, Leatherwolf, Seven Witches and many others. Recording, performing and generally being a heavy metal stalwart. In that time he’s built up a hefty list of musicians he can call on to create heavy metal with.

So with that in 2024 we have the debut album of Wade Black’s Astronomica, an album that has been written by Black and long term cohort Rich Marks, Black gives the vocals while Marks plays all the guitars, basses and some keys, the duo joined by Patrick Johansson on drums and James Fox on guitars and keys, though they only play on the record, the touring line up featuring a new bassist, drummer and rhythm guitarist. But never mind that we’re here to review the album and it’s decent, not spectacular, but decent heavy metal leaning on Wade’s histrionic vocals and Rich’s lead guitar playing. 

The music on The Awakening comes from the American style of power/heavy metal, a bit louder than the European sound, fewer keys and more aggression. It’s performed well by all involved and if you’re a fan of Black or the Tim Ripper Owens solo albums (Black’s vocals are similar to The Ripper) then you’ll lap it up, however if like me you’re only vaguely familiar with Black then it may not convince you to check out more. Still give it a listen and make up your own mind. 6/10

M2TM South Wales 2024: Cardiff Heat #1 Interview With Beyond Sorrow By Paul Hutchings

Interview with Beyond Sorrow - Heat 1, M2TM, Fuel Rock Club, Cardiff 8th March 2024

Band two under the spotlight for Heat 1 is Beyond Sorrow. Guitarist Sam Sweeting provides the answers.

1. Let’s start with introductions. Who is who and what does each person do in the band?

We are Beyond Sorrow, consisting of John Christou on Vocals, Samuel Sweeting, and Luke Sullivan on Guitar, Aaron Wall on Bass and Max James on Drums.

2. Where are you from and how long have you been together?

We all span from the Rhondda Valleys, Cardiff, and Swansea area! The band has been running as early as 2011, with different names over the years. Beyond Sorrow has been the definitive name as of 2019.

3. Describe your music in five words.

We’ll do better. A five-word sentence.

Absolute catchy headbanging djenty chaos

4. What prompted you to apply to be part of Metal to the Masses – South Wales?

We’ve participated in M2TM about 2-3 times of the years, and the atmosphere is electric. It really feels like a moment where people come together to have fun, have a mosh and to make new friends and fans.

5. If you have played Metal to the Masses before, tell us about your previous experiences and importantly, why you’ve returned!

We’ve made it to the semi-finals twice in the years 2017 and 2019, and we only feel like it’s right to make a return in the hopes of making it to the finals, or possibly win! But at the end of the day, the crown goes to the most deserving, and we are more than happy to participate with some amazing local talent.

6. Bloodstock is a big festival – have you attended the festival in the past? If so, what would you say are the best things about the weekend?

We have attended the festival in the past. Bloodstock is home to the people who care and love for metal music. Everyone is friendly, inviting, and always looking out for each other. That is the best part- the connection between the people who are there for the same reason you are- the music.

7. Apart from Metal to the Masses, what do you have planned for 2024?

We have new music in the works which we plan to release and plans for more gigs in 2024. We have one confirmed gig as of writing at The Green Rooms, Treforest on May 25th.

8. What can we expect from you in your heat?

Energy, moshing, heavy music, and a good ass time.

9. And what are you expecting in your heat and journey through the competition?

To make some new friends and fans, in and out of bands, with the hopes of branching out our music.

10. Finally, where can people find details of the band – promote your socials here!

https://www.facebook.com/BeyondSorrow

Instagram: @beyondsorrowband

Spotify: https://open.spotify.com/artist/4tY9To2lYXUz0qMCjof27G?si=erxD8ovQTuetkRPTnAqhTg

A View From The Back Of The Room: Fozzy (Live Review By Debby Myatt)

Fozzy, The Hot Damn! & Pistols At Dawn, KK’s Steel Mill 23.02.24

Technically, it’s 25 years since the first incarnation of Fozzy was born, pretty much a covers band until their third album All That Remains was released in 2005. Since then they’ve been pretty consistent with touring and a steady stream of albums. Fast forward to today and they’re on a high touring and promoting their latest album Boombox and we catch up with them at KK’s in Wolverhampton.

We’ve been promised a Friday night party night here in Wolverhampton and first band up Pistols At Dawn (7) start the party with a bang. Guitarist Will James appears on stage with his neon lit guitar smoking as he introduces us to P.A.D. with an EVH style guitar solo, before the rest of the band join him on stage. Some may think this a bit precocious or self indulgent, especially as the opening band, but it certainly gets the early crowd in the party mood.

Having gone through some recent personnel changes, this tour supporting Fozzy was going to be a massive test for the Atlanta quartet aiming to get back on track with their new release Ascension and they emphasis that by opening up the set proper with the first track from that album Under The Surface.

Pistols At Dawn are lively, hard hitting and certainly know how to get a crowd warmed up, their cover of Rage Against The Machine’s Bulls On Parade got the ever growing audience bouncing, but when you’ve only got half hour or so to make an impression, maybe a second guitar solo during the set is a bit much? Anyway a decent enough entrée to start the night.

There’s nothing that says Friday Night Party more than a pair of rainbow unicorns right? Well that’s what appeared on stage ahead of The Hot Damn! (8), two huge inflatable ones either side of the stage. This was going to be interesting!

Formed from the ashes of The Amorettes and Tequila Mockingbird like some day-glo phoenix, The Hot Damn! Are unapologetically in your face rock and roll with heaps of attitude.

Opening up with Fizz Crash Bang it sets the tone for the rest of the set. High Energy pop rock that you can’t help but dance, bounce, clap or sing along to. The party is now in full swing!

But don’t let the rainbows and cute unicorns fool you. This band isn’t another “pretty band” wheeled out by record company execs as a gimmick band, no this band has talent in bucket loads and carry on that hard nosed all female ethos first envisioned by The Runaways and later taken up by the Riot Grrrl movement in the early ‘90s. 

The songs may be poppy, but they are guitar driven and drummer Josie O’Toole can hit those skins! So The Hot Damn! are a rock band who play with a pop attitude and if you have a problem with that, then that’s your problem not theirs as they end the set with the catchy I Didn’t Like You Anyway

I’ve got to be honest here, up till a few years ago I’d only known Chris Jericho as a wrestler (having a young son mad on wrestling will do that), and finding out he had a rock band I thought it’s just another of these superstar wrestlers having a side project to play with, a gimmick. But boy was I wrong. Fozzy (10) is no gimmick or play thing for Jericho, they are a full on bona fide rock band and tonight they bring the party to Wolverhampton in bucketloads.

This tour is probably their biggest headline tour to date in the UK and Jericho says it’s like a second home to them, they’ve always received a warm welcome and have a great fan base here. They’re over here riding the crest of a wave following the accolades from their latest album Boombox which is probably their most accomplished album yet and they waste no time by getting straight into it by kicking off the gig with a new track Spotlight a dark, mysterious track that is heavy and foreboding.

The packed crowd at KK’s are lapping it up already, Jericho is a showman and knows how to play a crowd, but he’s got the voice to back that up. The rest of the band take Jericho's lead and they are all having the best time up up there bringing the bounce back to rock, at one point cries of “Fozzy Friday” reverberate around the hall.

The set comprises of tracks from most of their long back catalogue, songs from the last four albums are included and even right back to 2005’s All That Remain with the crowd favourite Enemy

The middle section of the set though is reserved for tracks from Boombox including their brilliant cover of 80’s pop classic Relax (yes the Frankie goes To Hollywood hit!), they end the set with that crowd favourite Enemy before returning to the stage for an encore that featured probably their most popular recent song Judas (Jericho's AEW Theme) and a cover of the Ramones classic Blitzkrieg Bop, what a way to end a superb night. They promised to bring the party and they didn’t disappoint.

In this writers humble opinion, Fozzy should be playing arenas, they should be up there alongside the likes of Shinedown, Alter Bridge, and Stone Sour, but for the moment I’m glad they’re not, because we can still get to see an arena band in these smaller independent venues and soak up the atmosphere. A definite early contender for gig of the year!

Reviews: Blind Channel, Volcandra, Waste A Saint, Steel Rath (Reviews By Zak Skane, Matt Bladen, Rich Piva & Paul Hutchings)

Blind Channel - Exit Emotions (Century Media Records) [Zak Skane]

From the opening track, the band do not mess about, we get hit in face with fuzzy djenty douncy riffs, foot stomping drum beats, but what already grabs my ear about this band, is their nostalgic vocal delivery along with additional layers. The vocals produced with this nostalgic element of autotuned produced vocals that remind me of the mid 2000s screamo bands like Breathe Carolina, Pierce The Veil and old school Asking Alexandria especially the electronic beats being played along the verses. It especially hits the nostalgic heart strings when the Where's The Exit featured your classic 2000’s metalcore styled breakdowns. 

Deadzone provides some industrial elements with it’s digitech whammy fuzzed riffs and boxy sounding electronic drum beats. Following this we get the barking but short, sweet and catchy Wolves In California whilst the break up anthem of XOXO contains swaggered rapping, distorted catchy vocal lines and rumbling breakdowns. To close the first half of the album their ballad Die Another Day provides us with lo-fi pianos lines, vocal trade off with their female guest vocalist and some uplifting heart on your sleeve lyrics. 

The opening track on the second side of the album Phobia explores the dark isolating natures of metal health whilst also making it sound like a scene kids party anthem. Other highlights of this album are the frat/f*ck boy lyrics and the returning of the low tuned riffs of Not Your Bro, whilst Flatline give some Electric Callboy styles euro dance beats and 80s/90s synth sounds. Their closing track One Last Time…Again gives us layers of low pitched vocal layers, throbbing dance beats and gang chanted choruses. 

From track to track Blind Channel have effortlessly explored various lyrical topics from surreal to cheesy whilst effortlessly keeping to it’s formulaic party rock approach. For fans of Breath Carolina, Electric Callboy and The Hollywood Undead. 8/10

Volcandra - The Way Of Ancients (Prosthetic Records) [Matt Bladen]

Another week another band inspired by swords and sorcery creating a concept record inspired by Diablo video games, Conan, Clash Of The Titans et al. However put your loincloth away as this isn’t Manowar-like power metal, Louisville band Volcandra play something closer to melodeath, with black metal and thrash inspiration too. The Way Of Ancients is their second album and again the story driven approach takes us to snow-capped mountains, epic battles and magical creatures. 

They are labelmates and have toured with Tómarúm, who released one of my favourite albums in 2022, so that’s a positive for me without even hearing a note. These tours have honed their skill live so in 2022 they settled down into writing another tale of fantasy that is all about escapism both through the lyrics and the music, production happening throughout 2023. Vocalist/lyricist Dave Palenske had a desire to continue their conceptual approach, so wrote the overarching story, which he squawks, snarls and shouts. 

While the band tried to match it to music, increasing the black metal style a bit more on this album to move towards Wintersun of Cradle Of Filth, as the harmonised tremolo riffs of River Jordan and Jamie DeMar and blasting drums of Mike Hargrave are joined by choirs provided by Oubliette’s Emily Low, the guttural punch of Andrew Casciato’s bass strong on Fouled Sanctity’s galloping middle section and on the title track. Volcandra have made their second album a bit dark, moving toward extreme metal a bit more but still containing the fantastical storylines and melodic guitar styling. 8/10

Waste A Saint - Ravenous (All Good Clean Records) [Rich Piva]

There is no shortage of killer stoner/doom with great female vocalists. Another band throwing their hat in this ring is Waste A Saint from Norway who play a super up-tempo, catchy brand of stoner rock that will surely appeal to those who dig such things. Ravenous is the band’s second full length and is a nice step forward for Waste A Saint. The band packs a lot into its crisp 28-minute run time, so there is no time for messing around on these seven killer tracks.

While the band definitely leans towards the stoner side of things, I can’t help but to hear a lot of 90s punk and heavy alternative in the seven tracks. I am going to throw some somewhat obscure bands out there but think of bands like Tilt and Discount (Google them) as reference points. Throw the band on a tour with Neptune Power Federation or Wytch and they would fit in nicely there too. Vocalist Bogey has a killer voice with a bit of echo on it that is the driving force on Ravenous, with the opener, Schizofriendia being a great example. The vocals are right up front but are nicely surround by some nice and fuzzy hard rock. 

Sore Spot is where I really hear the 90s punk stuff come out. This song could have been on the Warped Tour circa 1994 (this is a compliment) and is quite the ripper. I get the same vibes from the also ripping C.M.T.L. and I love the fuzzy and fast guitar work on this one too. Femme Fatale gets a bit chunky and reminds me a lot of the most recent Wytch album which is a nice tart to strive for. Dryads starts out sounding like an STP song in all the best ways and leans way more on the alt rock side of things, with the vocals creating more of a heavy yet dreamy state and the next one, Avoid My Wits is in the similar style and just as good. I love the bluesy feel on the closer, Aeronaut, that also incorporates some of that 90s alt rock as well as some psych vibes too.

The sheer volume of good to excellent stoner rock out there today can be intimidating, so when you throw something like 90s pop punk and alt rock into the mix you tend to be able to stand out amongst the throngs of bands playing today. Waste A Saint does a great job of incorporating these additional elements to the stoner rock goodness to bring a pretty short and sweet little ripper with Ravenous. 7/10

Steel Rath – Prayers Of War (Alone Records) [Paul Hutchings]

Steel Rath bring their second album Prayers Of War which is the follow up to 2021’s eponymous debut and it’s one that reaches deep into the heavy metal play book. 

Musically, it’s impossible to avoid the Iron Maiden / Helloween comparisons, for there is no doubt that Steel Rath worship at the temple of those behemoths. This is more Maiden in the 80s than the progressive, elongated songs that the Irons tend to deliver today. It’s full of dual guitar harmonies, plenty of riffs that Murray and Smith would deliver, and a bass/drum combination that anchors in much the same way as Messrs Harris and McBrain. We’ll get to the vocals shortly.

The band has changed the rhythm section in time for this album, with new players Jiulio D Cesar and Andre Ranhel slotting in alongside original members Alex Livas and vocalist / guitarist Bruno Coimbra.
Musically, this is solid, it’s definitely listenable, despite the obvious plagiarism that has taken place. But music is in the ear of the beholder, and I can see some telling me that the band should be given a break. 

Whilst I am in favour of that wherever possible, there are times on this album where Iron Maiden come bursting through so clearly that it’s impossible to avoid playing Name That (Maiden) Tune. The title track for example, has elements of Caught Somewhere In Time and Wasted Years running through it. It’s well performed though, and I’m not knocking the band’s ability to gallop along.

 
It maybe that the saving grace is that Coimbra can’t match Bruce or Blaze in anyway, shape or form, and the slightly off-key vocals do tend to draw attention from the music. There are plenty of times where the singing does echo Dickinson, and occasionally the German ensemble as well, and you could view that as a compliment in many ways.

 
There are variations. Hammer Grinder is more traditional heavy metal, whilst there are several breaches of the power metal boundaries, such as the epic finale, Secrets Of Steel. I feel that this is an album that could be much better, if the band would allow their own direction to take hold, rather than adopting every cliché in the book. It may be that their Brazilian roots don’t allow that. 

Regardless, there is plenty to enjoy here, providing you like traditional heavy metal played very much to the blueprint that Iron Maiden laid down over 45 years ago. 6/10

M2TM South Wales 2024: Cardiff Heat #1 Interview With Built To Destroy By Paul Hutchings

Interview with Built To Destroy – Heat 1, M2TM, Fuel Rock Club, Cardiff 8th March 2024

We start our coverage of this year’s road to Bloodstock 204 by asking Built To Destroy to answer a few questions and introduce themselves.

1. Let’s start with introductions. Who is who, and what does each person do in the band?

Rhodri Davies - Lead vocals and bass guitar

Mark Richardson - Guitar and backing vocals.

Dean Williams - keys

Dale Clawson - Drums

2. Where are you from and how long have you been together?

We are from Cardiff, Chepstow, The Valleys, and New Jersey. We have been together over a year now but have known each other from previous bands and projects.

3. Describe your music in five words.

Casual Prog Metal for all!

4. What prompted you to apply to be part of Metal to the Masses – South Wales?

We are aware of this great showcase of unsigned artists. Being a relatively new band on the scene we want to share our music with a new audience and discover some killer bands along the way.

5. If you have played Metal to the Masses before, tell us about your previous experiences and importantly, why you’ve returned!

This is our first time.

6. Bloodstock is a big festival – have you attended the festival in the past? If so, what would you say are the best things about the weekend?

It’s on our bucket list of festivals to see. The thought of potentially being a part of it is mind blowing.

7. Apart from Metal to the Masses, what do you have planned for 2024?

We are aiming to release our second single and first music video around the date of our heat at M2TM. Following this we will be spending 2024 releasing more gems and introducing ourselves to many of the great music venues that the UK has to offer.

8. What can we expect from you in your heat?

Big riffs, big hooks and big grooves.

9. And what are you expecting in your heat and journey through the competition?

Expecting some very strong competition! There are so many great bands out there now. We saw some of the heats last year and standard was amazing. We hope to show we can hold our own and bring something fresh to the competition.

10. Finally, where can people find details of the band – promote your socials here!

https://www.facebook.com/profile.php?id=61550955994509

https://www.instagram.com/built2destroyofficial?igsh=d2h6dzBzb3dxcWds&utm_source=qr

https://youtube.com/@Built2Destroy?si=Oei0-tjLmCWG-uOf

Reviews: Walter Trout, Sentry, Beyrevra, These Wicked Rivers (Reviews By Matt Bladen, Paul Hutchings, Joe Guatieri & Rich Piva)

Walter Trout - Broken (Provogue/Mascot Label Group) [Matt Bladen]

10 years on from his life changing health issues, its been a long hard road for long rom aiming bluesman Walter Trout, his 2015 'comeback' album Battle Scars, sparked a creative streak that has seen him release a lot of albums in quick succession. The newest, his 31st, Broken doesn't languish in the maudlin though, it's a comment on how fractured our society is, told in a way that only a 72 year old with a new lease of life can. It's Trout entering his grumpy old man stage, though as he admits, mentally still 25, raging at the world along with a few friends. 

Yep I said a few friends as Beth Hart, sings her lungs out as per on the title track, opening this new album with some 'classic' bluesing, the two of them delivering passion vocally as Trout shows off those well honed chops. Elsewhere Trout plays his first Canned Heat-like boogie since leaving that band on Bleed which has harmonica virtuoso Will Wilde blowing up a storm, the final guest is Twisted Sister frontman and professional mouthpiece Dee Snider on I've Had Enough, a track written by Trout for Snider. 

These 12 originals all have Trout's brilliant playing running through them, country picking on Turn And Walk Away, those country tendencies continue on Breathe. There's some beautiful soloing on Courage In The Dark and of course some rocking on a track such as Heaven Or Hell, where Trout goes a bit Neil Young. For me though the evocative instrumental called Love Of My Life, dedicated to Trout's wife, is one of the best songs here as is the psychedelic closer Falls Apart. Walter Trout is still kicking, still rocking and deeply indebt to the blues as his saviour. 8/10

Sentry – Sentry (High Roller Records) [Paul Hutchings]

How do you define the sound that Sentry bring? Epic Metal? Traditional Metal? Even NOWBHM but done by Americans? Or simply, pure solid Heavy Metal. Regardless of the label, the debut album by Sentry is something else.

For the uninitiated, Sentry comprises three members of the sadly no more Manilla Road, Bryan Patrick on vocals, Phill Ross on bass and drummer Andreas ‘Neudi’ Neuderth who are joined by guitarist Kalli Coldsmith. There’s a history of 40 years to explore with Manilla Road, but that’s not the purpose of this review. Suffice, once the band had recovered from the death of Mark Shelton in 2018, and performed the Manilla Road tribute at 2019’s Keep It True Festival, they decided that Sentry would become reality. 

As Phil Ross explains, to call the band Manilla Road would have been absurd. “We don't need to pretend we are something we are not; we simply wish to be ourselves within this new band. To move on in this group and write new material and try to call it ‘Manilla Road’ would have been absurd, and it's not anything we ever thought about. If you ask anyone in Sentry, they will tell you that Manilla Road was Mark Shelton, plain and simple”.

So, whilst you are quite within your rights to consider Sentry in part a tribute to Sheldon this is a new band who have produced a fine debut, on the High Roller Records label. With much of the music written by Coldsmith, who also did a large part of the production, mixing and recording, there is certainly a different feel although the sound that the band have brought is certainly both Traditional and Epic Metal.

At just shy of 55 minutes, and eight songs, you quickly realise that there are some longer than average tracks on offer. That doesn’t matter in the slightest, for this is music that gets better on ever play. After the fast opener Dark Matter, it’s the first big hitter in the shape of The Haunting, a song that would sit comfortably alongside doom legends Candlemass. The slow driven riff, Neuderth’s thumping drums and Patrick’s mesmeric vocal style all sweep you into one huge well of emotion. It’s anthemic, massive in sound, and a statement that this is a band with much to offer.

Heavensent and Black Candles were the two tracks that premiered in 2023, although I admit that I missed them at that time, so they present as fresh. The former is a mournful lament, whilst the latter brings a layer of darkness that conjures up magical and mythical images. Sandwiched between these are two of my favourites – Valkyries (Raise The Hammers) and the thrash-laden Awakening. 

The former sits comfortably alongside the likes of Cirith Ungol and Grand Magus, with a little edge of Manowar but without the OTT ludicrousness of the oiled-up ones. Skull crushing riffs, a huge drum sound, and Patrick on imperious form, it’s simply as metal as you can get. After the thick riffs, the explosive power of Awakening is a surprise, but a real fine one. It slows in parts but is still a real crunching track that will be incredible live.

The heaviness of Black Candles isn’t crafted by the speed but by the sheer intensity of atmosphere created, and the way its tempo accelerates in the final part is inspired. Using audio imagery works magnificently on the album. The cry of the Raven on Raven’s Night may be cliched, but there’s nothing to complain about on another epic song. It’s another carefully crafted, brooding track that is soaked in melody. 

The croaking Raven appears again at the end, before a bell tolls to introduce the sombre doom rich Funeral. Originally a segue between songs, Coldsmith converted it into a full song, and it features Ross and Patrick before Coldsmith adds some gentle acoustics. Dark, sombre, it’s a song that fits so well and yet is so different. And then an inspired cover of Candlemass’s Incarnation Of Evil, which is available on the CD as bonus track.

This is a massive album. If you like your Metal the classic way, then check it out. You won’t be disappointed. 10/10

Beyrevra - Echoes: Vanished Lore Of Fire (Trollzorn Records) [Joe Guatieri]

German Melodic Black Metal band Beyrevra come out of the woodwork to bring us their debut studio full-length, Echoes: Vanished Lore Of Fire. Having gotten more into Black Metal over the past couple of months with the likes of the genre being infused with Noise and Industrial, I was really interested to dive into this melodic variant.

The record opens with Sentenced, the introduction presents the sounds of a ghostly choir represented by keyboards before everything involved blasts at high speeds. The guitars sound very cinematic in their nature giving me visions of a raid upon a tower with monstrous vocals acting as our guide through this dark world.

Later on we go into track five Erased which brings feelings of pain in the way that the instrumental is delivered. Everything seems stretched out for help but to no avail as the song slows down into a punishing crawl, producing shades of Doom Metal reminiscent of classic bands such as Saint Vitus. Then with one false move, all of a sudden we are sent spiralling in another sprint for our lives.

Finally we have track nine The Hermit Of Torment which is my favourite song on the album. To me it is without a doubt the most aggressive song here and the track listing really builds on the fact, getting more unhinged overtime. As the track slows down from the biting anger, something more beautiful and serene than what anyone would have expected appears. 

A meditative guitar riff is repeated feeling like such a contrast to what has come before, bringing peacefulness for the first time. This moment defines what Melodic Black Metal means to me, making light of something dark. It reminds me of Lateralus era Tool which is something that I welcome here with open arms.

Overall, despite an under-utilized bass guitar, the album is a powerful experience bringing together stories in song. Brilliance is highlighted in plenty of different places including memorable drum performances which are animalistic in their nature and feel impossible to play. 

Another way is with the singer that feels like he’s in battle with himself with both of his high and low deliveries within their vocal range, it makes you think that there’s several different people offering their talents so I find it mind blowing that it’s all from one person. 8/10

These Wicked Rivers - Force Of Nature (Fat Earth Records) [Rich Piva]

Is it me or is there a ton of bands that are “These” and “Them”? Is it also me or do all of those bands sound alike? To me the answer to both is an emphatic yes, and These Wicked Rivers is no different. 

These guys play a relative generic style of southern rock that is a bit to twangy for me and way too overproduced for these ears on their latest album Force Of Nature. Sure, these guys can play, but I could not pick them out of a lineup compared to the glut of other bands playing straight ahead rock today.

I mean, sure, the solo is great on the opener, Force Of Nature, but to me the song falls flat and has a built in a lab feel that is impossible for me to get past. The Family is a country-tinged rocker that sounds more like heavy modern country than anything that I would want to spend any time on from a rock standpoint. Black Gold is a bit cringe and cliché while Testify is more of the same. 

The guitar work is strong on the record, but that’s really all I can say I dig on Force Of Nature as a song like When The War Is Won is more like very poor man’s Skynyrd that had a bunch of money for expensive studio time. The second half for me is not much better than the first, with more cliched southern rock via UK lyrics over generic rock and above average guitar work.

I apologize in advance, because I know some people are going to love this, but Force Of Nature. These Wicked Rivers come across as posing as a Southern Rock band, and I just can’t get past it. Also, only true Them Or These band to worry about are Them Crooked Vultures. Sorry. 5/10

Reviews: Amigo The Devil, Mick Mars, Saffire, Sons Of Liberty (Reviews By Matt Bladen & Rich Piva)

Amigo The Devil – Yours Until The War Is Over (Liars Club/Regime Music Group) [Matt Bladen]

The son of a Greek father and a Spanish mother, Danny Kiranos, aka Amigo The Devil draws influence from both of his heritages as well as the darker fringes of Country/Americana to create smouldering murder ballads, dark romance and haunting acoustic music which features Danny’s intense and dramatic vocals stylings and stripped back compositions. 

Featuring mainly acoustic guitars, banjo and percussion on It’s All Gone, but branches out into locomotive western themes, shimmering electric guitars from song writing partner David Talley and choirs on the frenzied I’m Going To Heaven. Inspired by Johnny Cash, Nick Cave, Tom Waits, Shooter Jennings, Nathaniel Rateliff but also Ennio Morricone and Danny Elfman, it’s got broad musical vision brought forth with layered instrumentation but sometimes space and vastness.

Yours Until The War Is Over comes from a love affair between Ernest Hemingway and his nurse Agnes von Kurowsky, that only lasted until the last days of WWI, the rejection devastating Hemmingway. This introspective outlook runs through the album, the good guys don’t always win, love is not always forever but there’s ways to cope, legal or otherwise. All the Kiranos’ songwriting tells stories of survival, the human condition and wears its heart on its sleeve this record the first entirely recorded produced and engineered in his basement studio along with Talley, both of them experimenting to create soundscapes that chill, excite and linger long after you’ve listened. 

With the heist tale of Once Upon A Time In Texaco Pt. 1, through short instrumental interludes, we’re brought to the second half of the record opening in with creepy repetition Cannibal Within, the regretful Virtue And Vitriol but the gospel stomp and clap adds definition to the brilliant Stray Dog as it’s the spoken word finale of Closer that will leave you in reflective devastation. Heavy but not loud, Amigo The Devil is more potent than many metal bands claim to be, your pain is his pain, until the song is over. 9/10

Mick Mars - The Other Side Of Mars (1313/MRI) [Rich Piva]

Two legendary hard/rock metal guitarists releasing a solo album on the same day, and both are good! Who would have thought it. My opinions on the new Ace Frehley album can be found here, but I am here to talk about the new one from Mick Mars, the most talented and least clown-like member of Motley Crue, who was unceremoniously dropped from the dumpster fire that is today’s Crue which might turn out to be for the best for both his legacy and for his fans, given the quality of his first solo record, The Other Side Of Mars. Mick put together a solid band, including lead singer Jacob Burton, who has worked with everyone from Mariah Carey to Steven Tyler and sang for G n’ R drummer Steven Adler’s band amongst other things. Burton does the album justice and proves to be a nice partner to Mars and his trademark style.

This could have gone a couple of ways, but the direction The Other Side Of Mars went was exactly where it should have. This is a way darker record than what you here with the clown Crue and is pretty damn heavy as well. The opener, Loyal To The Lie is a dark, up-tempo ripper with great guitar work and the vocals work perfectly with Mars’ and the overall vibe. Speaking of heavy, Broken On The Inside rips; it is a nice little three-minute blast of energy that will pull you even further away from Mick’s work with his former band.

These guys can’t help themselves, but at least the ballad is somewhat heavy too, as Alone fills that spot and highlights Burton’s vocals. The other ballad, Memories, I could do without to be honest. Killing Breed is more of the heavy, with an almost industrial feel with Right Side Of Wrong giving off the same vibe. Ready To Roll has a nice chunky riff that Mick rarely got to really do in Crue and LA Noir is a fun instrumental with some bluely feel to close it out. The album is far from perfect, as it is way too overproduced (not unexpected), has some generic songs and could have been 3-4 tracks shorter, but the good outweighs the bad on The Other Side Of Mars.

Given what this could have been, Mick Mars solo album must be considered a success. His band sounds great, he is free to shred as he likes, and there is nothing on here that would be considered an embarrassment (see Ace’s Constantly Cute). If you are a Mick fan or a fan of heavy but radio friendly rock, The Other Side Of Mars is worth your time to check out. 7/10

Saffire - For the Greater Good - Redux (ROAR! Rock Of Angels Records) [Matt Bladen]

Saffire released a great EP Starhunter last year in preparation for this reissue of their 2015 album For The Greater Good, it introduced me to the band so I was excited to hear more. This isn’t just a re-issue it’s been re-mixed so they sound more like ‘them’, now I haven’t heard the original so I don’t know what to compare it too but For The Greater Good has the bold, retro sound of Rainbow, Spiritual Beggars or Jorn, underlined by modern techniques, giving it a an audio facelift and making it more in keeping with the rest of their records. 

The interplay between guitarist Victor Olsson and keyboardist Dino Zuzic on the title track and across the 11 rejigged tracks is stellar, like classic Blackmore and Lord in full flight. Magnus Carlsson’s bass grooves and Anton Roos muscly drumming brings some power to Dandelion’s Shame and leads on Shadowland. For me though it’s Tobias Jansson’s vocals which are the best thing about Saffire, he sounds like Apollo Papathanasio at his best, able to soulfully croon over the big propulsive rockers but also add drama to tracks such as Wake Up The World and As Promises Burn. 

For The Greater Good is a record packed with big heavy rock guitar/keyboard riffs, aimed at lovers of Rainbow, Deep Purple or anything with Hammond’s or a bit of Swedish retroism. The re-mix gives it a bigger audio quality hopefully winning over new fans and appeasing old ones. 8/10

Sons Of Liberty - The Detail Is In The Devil (Self Released) [Rich Piva]

Given that I am in the US, a band called Sons Of Liberty triggers me, and I can only imagine what I am going to be getting myself into, considering that asshat from Iced Earth had a band of the same name. Alas, these Sons are a UK based hard rock band that have not an ounce of politics in their music, just straight-ahead rock and roll. In this case, what I mean by straight-ahead is generic, because the eleven tracks on their new record, The Detail Is In The Devil, are just there. There is no ground being broken or really, for me, even a memorable chorus or song that sticks.

 
There is nothing wrong with any of the songs on The Detail Is In The Devil, it’s just their southern rock-tinged hard rock stylings just don’t connect with me. Every song sounds like it has been done before, and in many cases, done better. Light The Fuse is a fine song, just nothing I need to hear again. Turn This Tide is a track on every single hard rock band’s album. The same song, over and over. The lyrics are a bit cringy, take What’s A Man Supposed To Do for an example. 

The guys can play, but seem to want to play it safe, with nothing that challenges the listener. Maybe some people don’t want to be constantly challenged, but I’ve Got The Sky is like eating a Hershey’s Chocolate bar. Yeah, it’s candy, and candy is great, but it is the worst candy, so do I really want to waste all my sugar intake on that candy bar when there are things like Twix and Krackel out there.

 
Sons Of Liberty’s new one is just there, existing, and doing nothing for me. The Detail Is In The Devil is harmless, but you can listen to better southern tinged hard rock for sure. 4/10

Reviews: Big Big Train, Firewind, New Years Day, Devastator (Reviews By Matt Bladen)

Big Big Train – The Likes Of Us (Inside Out Music)

Losing a band member can take its toll on a band, so when David Longdon, the beloved voice of UK prog rockers Big Big Train since 2009, unexpectedly passed away at 56, no ne would blame them for wanting a few years off. However as a band who has always swapped members in a collaborative way, Longdon’s death was tragic but they used their grief and this seismic change to not only complete two albums with his last vocal tracks but also have continued to tour and write new music. 

The Likes Of Us is their first album with ex-Premiata Forneria Marconi singer/guitarist/keyboardist Alberto Bravin behind the mic and on keyboards and also sees Oskar Hollodorff replace Carly Bryant on keys. It’s also their debut on InsideOut, having previously self-released many of their previous albums, signing to the label has made them rediscover their prog roots, though they started as new-wave it’s always been the prog rock category they have been lumped into, because of their use of English eccentricity and nostalgia, beckoning the soundscapes of Genesis (Gabriel-era), Yes, The Flower Kings, Spock’s Beard and Frost*, whether they be an influence or contemporary, their broad appeal across the prog rock spectrum giving them a loyal fanbase for many years. 

So how does this first album without the erstwhile vocalist sound? Well it sounds like BBT and until co-founder Gregory Spawton decides to lay down his bass that will always be the case, his creative mind drives this band but he’s always surrounded himself with the best musicians, including drummer Nick D’Virgilio who has also been in the band since 2009, so is not only a creative foil but also provides the other half of the longest tenured part of the band. Their rhythms are the heart of the band, both also providing 12-string acoustics to the album, while Nick bolsters the vocals. 

These harmonies are also provided by keyboardist Oskar who makes and impact from the get go of Light Left In The Day, with some funky organs and even some synth brass (unless this is real brass). Also adding to the harmonies is Clare Lindley whose violin has been integral and a beautiful addition for a number of years. Leaving the last harmony place to be filled by Rikard Sjöblom who provides more keys but primarily guitars along with Dave Foster, the trio of Foster, Lindley and Sjöblom, creating magic on the brilliant Love Is The Light. 

With so many multi-instrumental members it’s probably not a surprise that BBT’s music sounds so rich and full of depth. It’s also sequenced perfectly as those harmonies I was banging on about come in on Oblivion, which segues brilliantly from Light Left In The Day, those Heritage English prog bands worming their way into the Beneath The Masts, a gargantuan 16 minutes which feels like 4. Big Big Train make music that washes over you, with added poignancy, The Likes Of Us, establishes a shining new era of more brilliance. 9/10

Firewind – Stand United (AFM Records)

With a US headlining tour, EU tour with Masterplan and a UK date headlining The Underworld in Camden, Greek power metal veterans Firewind return with Stand United. It’s their tenth studio album, the second with Herbie Langhans on vocals and for guitarist/founder Gus G, having the experience of German singer Langhans is invaluable as a co-writer and as a sounding board for the business side of Firewind. 

Together with Dennis Ward, they have committed another nine originals to record and also a cover of 80’s pop rock song Talking In Your Sleep, which will take the place of Maniac in their live set. The title links the songs to a theme of unity and defiance, anthemic calls to come together under the banner of humanity and heavy metal. Not much can be said about Gus G that hasn’t already been said, anyone who was chosen to play for Ozzy has chops so it’s no wonder he sets alight to the fretboard here.

It’s not all about rampant shredding, power metal gives way to classic metal and hard rock, (Chains), the song is the key, the solos a special treat on top. Due to this variation it’s good that Langhans has a voice that can vary itself while retaining that gruffness, I maligned his performance on the live album from last year but on record he nails it. Whether it’s the speedy Destiny Is Calling or the chuggy The Power Lies Within, he can adapt to any occasion. So too can the honed chops of long serving (original) bassist Petros Christo and the tough drumming of Jo Nunez, keeping the meaty rhythms going while Gus fires off more frenetic fretwork on tracks such as Fallen Angel. 

From the slower groove of The Power Lies Within, there’s some classic Firewind on Come Undone, repeating synths under the biting neo-classical metal riffage as the AOR touches of Langhan’s history are brought to last song Days Of Grace, an ending that perhaps is fades away rather than burns out. Still the rest of Stand United shows why Firewind are revered in the power/heavy metal scene. 8/10

New Years Day - Half Black Heart (Century Media Records)

Ash Costello has appeared in pretty much every music magazine, website and stage around the world, she's got a look some would call iconic but her music making is much more appealing to me. I've always held them I quite a high regard, especially as when they released their debut album, it led to a spate of bands doing something similar, fusing modern metal breakdowns with twitching electronics and Ash's expansive vocals that soar angelically on the clean poppy choruses and the next minute they rip your face off with a growl. It's gothy, it's industrial it's all very nu metal, and while bands like this usually send me running a mile, a new New Year's Day album always makes me a little excited.

So with the first single Vampyre sets the tone, it's got some horror movie lyrics, wrapped up in a dark romance as the music puts a lot of djenty riffs with those filtering electronics, while Hurts Like Hell has a bit more pop metal to it as Fearless leans more that way too, with it's empowering chorus. Half Black Heart seems as if it's a throwback to that first album and there is a reason for that as Ash has reunited with the original line up of Jeremy Valentyne, Brandon Wolfe and Trixx, using the experience from writing four previous albums, this fifth album has all that going into it but with the four members who set out on that journey back in 2005.

Older, wiser and more seasoned as a band, they still retain the hunger they had on the debut, whether it's the more introspective or ballady tracks such as Bulletproof or Burn It All Down, the angsty Enemy or the razor sharp metal of the title track or I Still Believe. They may have a Half Black Heart but it still beats with the passionate it did nearly 10 years ago. 8/10

Devastator - Conjurers Of Cruelty (Listenable Records)

Derby black/thrash band Devastator return to rip your face off and drink your blood out of a pint glass. Influenced by Sodom, Venom, Slayer and a contemporary of Scottish goat boy Hellripper, this is their second album and it slaps you around the face and forces you to call it daddy. There's so much talent packed into this album that it's incredibly surprising that this band have only been in existence since 2017.  They manage to pack in so much, if you want fret melting thrash then listen to Necromantic Lust, on which lead guitarist R. Amun lets rip, but if you prefer some tremolo picked black metal then the title track will get your invisible grapefruit in the air, his solos are used brilliantly to bring melody to the unrepentant blasts of blackened fury, like a spot of classic metal in an extreme metal maelstrom.

However if you want something slower and much more evil then Deathspell Defloration, bubbles and boils, then goes full pelt as rhythm guitarist C. W. Wolfgang and bassist T. Nachtghul unleash their buzzsaw riffage. Beastial Rites is an under 3 minute blast of Satanic panic but conversely Rabid Morbid Death is nearly 8 minutes but the nastiest track on the record and as it's the final track you can hear J. Scarlett taking its final death throes as he's been beating the crap out of it for the rest of the album. This last track collaborates everything else on the album, the Motorhead meets the occult styling of Black Witchery, a song one drum break away from being Overkill. Walpurgisnacht’s Tom G Warrior “ough” an ode to Celtic Frost.

Be it thrash, black or speed metal Conjurers Of Cruelty is a feast for the ears. Bang your head, throw your horns and get ready as Devastator’s new album will be hard to match, if you like your thrash blackened. 9/10