Reviews: The End Machine, Kollapse, No Worth Of Man, Mutilated By Zombies (Reviews By Rich Piva, GC, Matt Bladen & James Jackson)

The End Machine - The Quantum Phase (Frontiers Music Srl) [Rich Piva]

Frontiers Records knows their audience, because releasing the third album from The End Machine fits perfectly into their agenda, which is consistently releasing material from 80s hard rock/hair metal band supergroups that come together today to release new material that covers the entire spectrum of quality. The End Machine is the stings part of Dokken (Lynch and Pilson) and now with Girish from Girish & The Chronicles on vocals and current Tesla drummer Steve Brown (who replaced former Dokken Bandmate of Lynch and Pilson and older brother Mick) on Drums. 

For some reason Frontiers lists The Quantum Phase as their second album on their website blurb, but this is clearly their third, following up two solid but nothing spectacular records. The End Machine is supposed to be the Dokken guys returning to the classic Dokken style, and I would agree that is the direction. What I will also say is the addition of Girish on vocals is a nice step up and improvement and the songwriting is better on album three as well, making The Quantum Phase the best End Machine effort yet.

Black Hole Extinction opens us up with some signature Lynch shredding and a sweet scream from Girish and off we go on a hard rock/metal time machine trip. It’s a nice and heavy track with great vocals and a nice chug along rhythm. Girish shows why he is one of the best vocalists in this genre today. The bluesy Shattered Glass Heart is a standout track and is very much a George Lynch style rocker and one of his best efforts on The Quantum Phase. 

The opening of Silent Winter makes me think Dream Warriors, sorry, I don’t do this on purpose. It is only at the beginning though, as this one picks up the tempo and is a little ripper, if you can have rippers on an album that is SO overproduced. Girish and George kill it though. Other highlights from Quantum Phase are the solo on Killer Of The Night, the vocals and upbeat tempo on Hell Or High Water, and the poppier very 80s Time. The album could have been one or two tracks shorter, maybe cutting out a song like Burning Man would have made this a more digestible in one sitting listen.

 
Does Frontiers demand that the production knobs are turned up to 12 every time? Why do they feel the need to make these records sound so slick? Maybe its just me, but the songs on The Quantum Phase would all be so much better with the production toned down about five notches. The songs are a bit generic at times, but overall, the playing and the vocals mostly make up for the weak spots on the best effort for The End Machine thus far and one of the better Frontiers albums I have heard in a while. 7/10

Kollapse - AR (Fysisk Format Records) [GC]

Not much in the way of info on Kollapse so a quick search on t’internet and I can see they are a trio for Aalborg in Denmark. I can see hardcore, noise, metal, sludge, and other promising descriptions online and they describe themselves as ‘’the gnarled feeling of emptiness deep in the pit of your stomach – a tortured scream against the bleakness of the world’’ and from that I feel that AR their second album will not be an easy listen!

They open up with AR which is 46 seconds of feedback and the already mentioned tortured screams which prepare you for Autofagia that comes in on a wave of crushing drums and a bass rumble that almost drowns everything out but the scuzzy guitars manage to battle through and set the atmosphere really well its all very slow and focused in the most deliberate way and it creates an uncomfortable and awkward listen but, in a good way of course! 

DØD barges its way into life on another wave of big dirty bass lines and sparse drumming that still manages to hit you right in that sweet spot the guitars again seem to almost get a bit lost in all the controlled chaos and seem to take a back seat but that is not taking anything away from how they sound because they still manage to create an unholy noise and the vocals really are uncomfortable in some places and that in turn makes everything just sound that little bit more bleak and harrowing. 

Form is a lurching behemoth that just slowly and surely sizes you up with its precise drum work and the hugeness of the bass that drops in and out of strummed and melancholic guitar work all layered onto another painfully extreme vocal performance its feels like you are being slowly constricted and suffocated by the rhythms and engulfed by the sadness of it all and it’s a compelling and painful experience all at once, Dekompostion is usually be something that if I saw the length of I would baulk (8:24) and maybe not bother but way this record just keep dragging you back in is something special. 

It is full of off kilter and manic drums that fight for room with the ever present rumble of the bass and always fighting for light amongst the darkness is the guitars that once again have a way of creating an atmospheric doomy feel to everything they touch, they may not be the main thing you hear but when you do they always hit their mark in spectacular fashion and there are so many twists and turns in the way this song pans out it always keeps you guessing. 

Kokon has a bit more forward pace than the rest of the album and that helps everything and moves you into another realm of uncomfortable-ness because just as you were getting used to the slow nature of the torture it all steps up but as with most of the songs so far they know how and when to slow things right down and re-introduce the creeping feeling of unease seeping through every note recorded so far, and just like that album closer Transformation is here and boy does it take a while to get going! 2:56 to be precise and unfortunately when it does kick into life it doesn’t really do much it’s a largely vocal free number and although it does add something to the whole bleak nature of the album but just feels unnecessarily long for what it is and a frustrating way to end!

I will be the first to admit that this sort of thing isn’t usually for me but, when it’s done like this you cant help but take it all in and try to comprehend what is going on and when you sit back and really take it all in the reward is there for you, its not an easy listen and probably way to dark for some people but if you want an album that will challenge your thinking and haunt your thoughts this is well worth a go! 8/10

No Worth Of Man – What’s Your Damage (Self Released) [Matt Bladen]

Hailing from Hampshire but sounding a American as you like, Brit bruisers No Worth Of Man release their new EP What’s Your Damage. Opening with an introduction that’s something about vampires in Miami and our trio as the heroes sent to destroy them, first track proper is Into The Dirt which hits like Lamb Of God on Wrath where they upped the prog game a bit.

I said trio as there are only three members of this band, Alex Punchard playing all the riffs, chugs and lead breaks on guitar and bass while Gareth Lucas smacks the hell out of the kit and supplies the samples, the trio rounded off by the never clean growls of Peter. It’s aggressive groove metal that has seen them expand a little more as a band due to working with Fredrick Nordstrom, who adds his metallic production sound to these four tracks. 

There’s not much else to say other than if you like groove metal with a proggy tinge, ala Lamb Of God then you’ll enjoy this matured version of No Worth Of Man as they are pretty close musically to the Virginian veterans. 6/10

Mutilated By Zombies - Scenes From The Afterlife (Redefining Darkness Records) [James Jackson]

What’s great about this album from Death Metal act, Mutilated By Zombies is that the tracks are mercifully short. The Iowa based three piece, peddle the same formulaic style of Extreme Metal that Death Metal all stars Cannibal Corpse and Deicide have been churning out since the early 90’s, whilst it may have been a shock to the system at the time, personally I feel that the visceral impact of Death Metal is less a Hammer to the face and more an annoying itch in a hard to reach spot.

The riffs and overall musical experience are as you’d expect from a band whose songs are entitled Head Count Rising, Molten, Gutsplit and Severely Severed, there’s a poetic play on words within that last title but the song itself feels like the same uninspired sound that has plagued me throughout the album.
There are moments that veer away from the slogging repetitive blast beat, double bass drumming, the frenetic guitar riffing and guttural vocals but they are few and far between, as though treading away form the formula would be considered an act of heresy.

 
Needless to say, this isn’t one that I’ll be playing again, as I wrote the review I’ve tried hard to glean something positive from the album but it’s just not happening, I’ve even found myself suffering from a sense of Deja Vu, for I’m sure I’ve reviewed an album of similar quality before and written a very similar diatribe. JJ 3/10.

Reviews: Alterium, Clarion Void, Hijss, The Wind Covenant (Reviews By Matt Bladen, Patches, Rich Piva & Mark Young)

Alterium – Of War And Flames (AFM Records) [Matt Bladen]

Alterium are a new symphonic/power metal band formed from the break up of Kalida. Singer Nicoletta Rosellini formed the new band alongside former Kalida band members Paolo Campitelli (guitars) and Dario Gozzi (drums), adding guitarist Alessandro Mammola (Draconicon) and bassist Luca Scalabrin (Altair), shortly after establishing the band in 2022. 

Of War And Flames is this new band’s debut record and yes there’s a lot of comparisons to three of the members previous band, mainly due to Nicoletta’s vocals but with Alterium they have increased the scope of what they do, adding the cinematics of bands such as Kamelot to mega ballad Crystaline and Shadowsong.

Some swashbuckling folkisms on Heroine Of The Sea and Crossroads Inn, but also the lightspeed gallops of Drag Me To Hell and Chasing The Sun and the poppier approach of Siren’s Call and Lightbringer. Alongside producer Lars Rettkowitz, Alterium have tried to write songs that show the full potential of Rosellini’s vocals. 

They even throw in a cover of Bismark by Sabaton where the lower register is used well. Alterium is not too dissimilar to Kalida, fantasy power metal with symphonic elements that will appeal to fans of that band and Nicoletta’s followers in her other career as a geek/nerd culture influencer. Another slick power metal act from Italy arrives in fine form. 8/10

Clarion Void - Failure In Repetition (Lost Future Records) [Patches]

Clarion Void bring Blackened Sludge from Colorado Springs with new album Failure In Repetition.

From the industrial clank of the opening track Repetition I filth is predicted to proceed. And Through Chaos We Succeed does indeed see that filth proceed and grow, forming a ball of dirgy violence and aggression. Guitars seemingly tuned so low that the strings are denoted by typographical symbols rather than letters.

Sisyphus Wept starts with a satisfying stoner bass groove. For name’s sake, I’d be perfectly happy with the groove repeating for the entire song, pushing that boulder uphill for eternity. Dark as the death the figure twice cheated and heavy as his punishment. This Is The Water uses an intro soundscape like a bad Lynchian trip. This is a riff to rock your head slowly in the corner of a dimly lit room. I can smell bong water through the headphones This Is The Water.

Lulu’s Interlude is a lost and depressing repetitive motif. Tremolo guitars break like waves sinking us deeper into the interludes lush desolate melancholy. Repetition II reprises the clank and feels more like an Interlude than Lulu’s. That’s two short interludes in a short space of time, I was hoping this would be a necessary respite before the next track attempted to break my face. Surprisingly The Bottom waits till halfway to kick in. Unfortunately anticlimactic and a low point in the album for me as the riffs follow a basic overused pentatonic and I really believe they missed an opportunity to destroy after the interludes.

Repetition III almost makes the same mistake as The Top would have definitely been more impactful without the snare count in. Nit picking aside, The Top is back to form with that post rock tremolo over heavy drops as the head starts to sway once again. I’m a big fan of the vocalists’ almost inaudible painful sounding distorted screams. As the guitars and drums attack with weight the vocals assault with a more ripping quality with the searing flesh of a trachea habitual to ripping a cone. 

The last song is entitled Rolling Boluder, presumably dropped by Sisyphus. Chug driven with beautifully dark chords that eventually take a surprise detour into the realm of black metal. With more riffs than previous songs Rolling Boulder finds itself passing Sabbath-esque grooves, hostile punk like vocals and doom drops.

As a band still in it’s early years Clarion Void make for a competent edition to the Black Sludge Metal genre.

Pros: Failure In Repetition ticks all the boxes for melancholic motifs, rugged rhythms, violent vocalities and desolate dissonance.

Cons: Album structure could be rearranged for a more effective flow, a few more fills would have been a great touch and some of the guitar solo’s didn’t land or felt unnecessary. 7/10

Hijss - Stuck On Common Ground (Heavy Psych Sounds) [Rich Piva]

The Italian band Hijss is a new power trio that I know little about, but they are on Heavy Psych Sounds so it’s a good chance it is going to be something that I dig. Their debut, Stuck On Common Ground, is a very cool mix of krautrock, heavy blues, and stoner played by three punk rockers. So, yeah, of course, given all that, my statement holds true, because this is pretty great.

The Krautrock vibes are strong on Ingraved, which is sparse and steady in the best possible ways, leading into 1234me with more Krautrock vibes that suddenly blast you with some punk stylings behind quite the driving rhythm section. The guitar tone is very cool on Stuck On Common Ground, a unique garage-esque crunch to it. The background vocals really add some depth to this track as well. This stuff sounds like nothing that has come across my desk recently. 

Headless Blues is the perfect title for this song. You know how you get impressed by a trio that sounds like there are more than three people in the band? Well, Hijss is not one of them, and that is perfect for their sound, this song being a great example. There is a weird, Jon Spencer Blues Explosion thing going on too and I am here for it. The first of two chill, two minute psych guitar interludes leads you right into Train Tracks that doubles down on the JSBE meets stoner rock vibes I am feeling until we morph right back into some Krautrock goodness at about the halfway mark. 

Narcolepsy slows it down a bit, going more straight-ahead heavy blues than previous tracks, with very cool results, but Hijss never just goes down just one path, so the pace picks up and we head back to Germany. Black Disease is more goodness, leaning towards kraut-psych, while Interlude #2 takes us into Blow Out, which actually reminds me of the Jesus And Mary Chain and may be my favourite track on Stuck On Common Ground. The sparse but heavy blues with stoner vibes of Tilt Mode is an excellent closer for this one-of-a-kind album.

Hijss is delightfully all over the place and wonderfully sparse but heavy on Stuck On Common Ground. This is a unique record that will keep you intrigued and guessing song after song. Check this out as it will be one of the cooler debut records of 2024. 8/10

The Wind Covenant - Hiraeth (Seek And Strike) [Mark Young]

Now, a quick EP from The Wind Covenant with a quick blast of Italian metal. Reading online sources, they note that the EP was an opportunity to try and expand upon their Metalcore and Deathcore sound, bringing in / amping up influences from both inside and from further afield, which in turn expands their sound accordingly. I have no frame of reference for them apart from the fact that I don’t really get on with the genres mentioned earlier. It could be an age thing similar to how 70’s rock felt with 80’s thrash when that came rolling in. Who knows, except that if its good, its good no matter what the genre is.

Beyond The Mortal Sight starts with that absolutely god-awful bass sound and that down tuned / all the strings you can have on a guitar tone that does nothing for me at all. There is the heavy bit, that flies along, deep vocals and I think, ah its not that bad, you just need to get used to the sound and then they go pop. Not in a good way, in a way where it’s so light and fluffy despite having the expected second round of heavy noise I just hated it. 

Just so you know, I ALWAYS try to find something positive about the music I review. In this case, its tight, everyone plays their part well but that’s it. In terms of expanding their sound, I don’t know about that but the second track, The Wonders We Leave Behind follows the same vocal route as song one – heavy, deep growls into almost auto-tune territory with the cleans. It just unfolds, and I’m sure that those who love Metal/Death core music will find something they like here, I cannot find anything I like. 

Doomed continues with that synth filled arrangement, again it motors along at a fair pace which is always a good thing but then the cleans come in and that’s that. On to the next one, The Straight And Narrow, with that ping-pong tone has an impressive start that changes it slightly, but again as they transition from the growls to the clean it is almost the same as before, almost measure for measure.

Next.

Devotion is the last track, starting on a strong footing. This is pretty cool in terms of how the drums / guitars sit together and then the cleans come in. I’m sorry but they ruin it. Once they start it just snaps me out of it because they are too clean. They are TOO clean for metal.

I’ll just say that there will be fans of this music out there, probably young people who think they are edgy, and that they invented black clothing. For me, I just didn’t like it all, even taking into consideration that they can play, its tight and it moves at a fair pace. There was something about the sound and the cleans that did me in, to the point where I hated it. The arrangement didn’t really vary from song to song, so you knew what was coming and I found that repetition the worst thing.

And then hated myself for not finding something I could really like about it. I appreciate that they have put so much effort into this, only to be reviewed by a prehistoric dolt like me. But its not good. If they are looking to expand or move beyond what they started as, then ditch one of the vocal styles. Either go full growls or do the cleans that sound more organic, raw if you like but go with one route and do it full bore. 4/10

Reviews: Neptune Power Federation, Slimelord, Turbulence, Vicinity (Reviews By Rich Piva, Mark Young, Matt Bladen & Patches)

Neptune Power Federation - Goodnight My Children (Cruz Del Sur Music) [Rich Piva]

It is going to be hard for me to go into this review for the new Neptune Power Federation album, Goodnight My Children, with any sort of impartially because I do love this band so much. The Sydney, Australia band’s additions to its ever-growing discography has never disappointed me (except for the shipping cost of their vinyl to the US) and they are not starting now with their latest ripper, Goodnight My Children. 

If you are not familiar, the band, led by the amazing and powerful vocals of Lauren Friedman, plays heavy occult rock/metal developed in the dank bars of Sydney and brought to you by grizzled members of the heavy underground of Australia. Goodnight My Children continues their excellent heavy with pop sensibilities assault and is as good as anything else they have put out so far, which is saying a lot.

Let Us Begin does just that, and whoa does it kick us off right, with a just over two-minute little ripper led by those vocals and some killer guitar work. NPF are back and once again not screwing around. Lock & Key has Friedman doing her best evil Pat Benatar (with hand claps, which are awesome when used right) layering her vocals and taking her range to top heights. Speaking of those pop sensibilities, Twas A Lie sounds like an 80s hit heavied up in Federation style, with cowbell, and dare I say some synths in thrown in there too. Oh, yeah and a perfect solo for the vibe of the song. 

The most epic track on Goodnight My Children is Woe Be Father’s Troubled Mind, which, stay with me here, has some kind of metal ABBA thing going on. Am I nuts? OK, maybe a band like Music Go Music (if someone knows this reference, please send me an email because you are my new friend). Whatever it is, the vocals are amazing, and the guitar work is some of the best on the record. More 80s vibes, but this time from the Sunset Strip, coming at you with Betrothed To The Serpent in all its glam metal glory but eviler and less party. Evermore is along the same path and is the big anthem on Goodnight My Children. This song would sound perfect at a stadium show headlined by NPF in some alternate universe. 

Hariette May is more of a mid-tempo rocker (the 80s are all over this album) highlighted by all sorts of vocal layers that create quite the soundscape (anyone else feel some Siouxsie vibes at the beginning?) that leads to quite the shredding session and then back again. The end of this song refuses to leave my head. The closing title track is a sort of a creepy and evil lullaby with lots going on, and the addition of that organ makes the way of sound in the heavier parts even more impactful. While I loved the Meatloaf worship on the closer for their last album, this one is the perfect ending to this collection.

I feel like Neptune Power Federation lean into a theme each record, and this one is definitely more towards all things from the 80s, and boy do they nail it. The vocals are amazing as usual, the playing is top notch, the songs are all great and the love of pop shines through in all the best ways on Goodnight My Children. Some of this amazing band’s best work. 9/10

Slimelord - Chytridiomycosis Relinquished (20 Buck Spin) [Mark Young]

Over the course of the following 47 minutes, Slimelord do their level best to astound, batter and generally give your ears a good kicking in this, their debut full length release. Just checking the accompanying bio gives the impression that this is not going to be your standard musical fare, and I’m all for that. Detuned piano? Fire drum? Tree branch and leaf rustling all play a part which shows you what is to come next.

The Beckoning Bell opens the account with some deep vocalising from Andrew Ashworth and a swelling accompaniment, slow and methodical until they drop the blast beats on you. From here on in, it’s just a cacophony of sideways riffs, rhythms that drop in and drop out, its fast, then slow and just wrongfoots you every at every step. The breadth of musical ideas they cram into one song, albeit at 7 minutes long is unreal. It combines doom, OSDM and more into a package which is a lot to take in. 

Gut Brain Axis takes a melodic turn in the opening moments, a spidery guitar riff that builds into a solo break that shows some very impressive skills, almost halting to a dead stop as we enter the realms of doom. There is a guitar pattern at about 4 minutes in that is mint, with the song starting to build traction with some more fabulous soloing. 

If you imagine that each song has songs within it, each one developing and expanding the one before it and it’s like walking into different rooms, all replete with new décor. This is probably the best way I can describe this, and you wonder if they can keep this level of creativity up because in the space of these two songs there is a ton of great ideas that other bands would be happy with a tenth of to make a song from.

Bubbling liquid heralds Splayed Mudscape, opting for a mid-tempo start only to take a hard right and enter the land of the monstrous break riff, the constant drum clinic courtesy of Ryan Sheperson somehow keeping the rest on track. This one is content to not be as expansive as the others, but it doesn’t lose anything for keeping it relatively simple (it’s not simple) compared to the others. 

Batrachomorpha Resurrections Chamber has a stripped back flavour to it, growing into life with some frenzied trem picking set against a melodic passage, once again held together by Ryan on drums. These last two songs, although of a great standard feel slightly less than the opening two. There are riffs, its heavy but I’m getting that its slightly fatigued.

The Hissing Moor comes back with that stop/start method once more, building atmosphere as that slightly off melody line is repeated. Mutating into a death metal beatdown that decides to change again, I literally can’t describe it other than a rhythm line that just goes everywhere. I know I’m not doing that the justice it deserves and I would suggest that you just buy the damn thing to see what I mean. 

Tidal Slaughtermarsh sees them get back on point. This is incredibly direct with some blinding riffs in here that move, the whole thing building to and then entering grindcore territory. The song feels like it is existing on a chaos energy and that it could collapse at any moment. 

New patterns are formed as they take us on a journey, solo breaks, solid breaks and drums that just don’t quit. This is as good as anything you have heard, and Heroic Demise comes to finish this stormer of an album. It’s a triumphant finish, a fast-paced start that is maintained, constantly moving with harmony parts, whammy bar abuse and a final drum check out just to remind you of that octopus behind the kit. 

This is more than you think it is, and there is a load of ideas running right through it. There is a drop in the middle, possibly because of the starting pair being the way they come out of the blocks, but they put it right by the end. This is going to be one of those albums that you will either get straightway, or one you will have to work with to get. It’s a rewarding experience that you owe to yourself to try. 8/10

Turbulence – Binary Dream (Frontiers Music Srl)

Lebanon based prog powerhouses return with more modern progressive expressionism, built around the virtuoso playing/compositions of Alain Ibrahim (guitar) and Mood Yassin (keyboard), they will appeal to fans of Karnivool, Leprous, Haken and Tesseract as djent/jazz rhythms are bolstered by moment of high ambience and a A.I influenced conceptual vein that runs through the record. With Anthony Atoui on bass and Omar El Hage on vocals they create a story that tells us all about a robot at the centre of a ‘Binary Dreaming’ experiment, doing so through their intense music and soaring vocals. 

From the crushing opener Theta they force the gates wide open on this third album with a renewed focus on the more modern end of progressive music, the use of industrial soundscapes, off kilter polyrhythms (Manifestations) and electronics against the orchestrations, keys and voice pitches inorganic against organic, linking to the concept of the album. 

After the instrumental Manifestations, comes the dramatic Ternary, set to a oscillation synth is sets the scene for the 14 minute title track which brings those influences of Leprous, but also Dream Theater and Middle Eastern music as well for an epic album centrepiece. Despite how massive this album sounds there’s so much intricacy to how they play and what they play. 

Just listen to the final duo of Corrosion and Deerosion, the former is a dark, emotive heavy prog cut that builds from jangling cleans and quietness, into a swelling atmospheric ballad, that gets heavier at the end segueing into the latter which as far as I can hear is a breath-taking guitar solo to close the album. I had an idea I’d like this new Turbulence album as their previous records scored highly with me, despite seemingly losing a drummer since the last album, they still deliver some brilliant modern prog metal. 9/10

Vicinity -VIII (Uprising Records) [Patches]

Norwegian progressive metal band Vicinity release their third studio album VIII.

Promised Paradice’s proggy pedal tone motif seamless key and feel changes set the stage for a promising start. The keys tone used is unapologetically typical for its genre, found only (but frequently) in prog rock/metal. It’s a strange first listen, as everything about this track sounds extremely similar to a band I briefly played for in the past.

A retrospective realisation of the paradox of the term progressive after a market becomes saturated with bands following the same influences (Threshold, Circus Maximus, Dream Theatre, Fates Warning, Marillion etc). This doesn’t however takeaway from the musicianship and creativity needed to write music such as this, but the opening track does feel like it’s sticking close to the recipe. If it ain’t broken I guess.

Distance uses a repetitive whole tone swing and gives guitarist Kim-Marius H. Olsen plenty of time to show his comfort with playing feel good major-heavy shred. An overall positive sounding tune with instances of interesting off beat choices. The well constructed vocal melodies of Erling Malm soar gracefully in the forefront but it’s the impressive colour palette of Frode Lillevolds precise and perplexing percussion that really pulls my attention. Purpose is another optimistic sounding prog piece making me wait four minutes for the feel to hit a satisfyingly darker tone. Unfortunately this change is too fleeting and quickly reprises to twee.

The band finally decide to bring out the metal in progressive metal with Confusion Reactor. A heavy aggressive groove, dark octave movements and more desperation in the drama brought by the keys are manipulated with efficiency. This change in pace makes the calmer bridge an effective conversion and a perfect opportunity to make Pierre-Niocolai H. Schmidt-Melbye’s bass pop, subsequently garnished with a tapping solo. The Singularity keeps up the heavier tone with some jarring changes, an emotional lead exchange between the bass, guitar and synth and harmony vocals aid the choral hook.

The piano and accompanying cymbals of Shape Of Life may be a little too pretty for my liking. The initial vocal melody somehow bringing out a fear in me that somewhere out there in the multiverse there is a prog Disney. But hey!, what’s more successful than Disney? DKE utilises that syncopated drum guitar punch that works so well in progressive metal. Church organ chords complement a heavy metal melody. Plenty of synth solo, plenty of percussive madness and the best change in the album at the midpoint mark. Switching between a descending Dave Mustaine-esque barrage and a fruit machine-like repeated arpeggio. Ending with the optimistic madness of a Japanese cartoon theme, this instrumental hodgepodge of ideas stands out as my personal favourite

The album wraps up with the initially ballad sounding Face The Rain. Although this quickly switches to an almost proggy melodic death metal riff. “Spooky” key intervals playfully inspire memories of Unsolved Mysteries and once again, the drums are absolutely triumphant. The band went all out for the last track which is great to hear. Awesome and impressive changes are found throughout this thirteen minute epic. I’m not completely sold on the choice of drum sound as at times it really does sound like a drum machine, yet, this song is certainly a contender for joint track of the album with the last.

Rating albums in this genre isn’t easy, as the musicians are always going to be tremendous players and intelligent writers. VIII is a compilation of competent, concise compositions both technical and accessible. A little twee at times for my personal tastes but Vicinity know what they’re doing with the twee stuff and also do heavy very well too! 

My only issue with the album is that I cannot pinpoint a unique quality that separates it from its peers or influences. Is it a good progressive metal album ? Yes. Does it stand out? No. If you’re into bands such as Threshold, Circus Maximus and Dream Theater then it is an album worth adding to your collection. With respect to the musicians involved it is with regret that I also found the album quite “stock” within its respective genre. 7/10

M2TM South Wales 2024: Swansea Heat #1 Interview With BackIVBlood By Paul Hutchings

Interview with BackIVBlood - Heat 1, M2TM, The Bunkhouse, Swansea 9th March 2024

Band two under the spotlight for Heat 1 in Swansea is BackIVBlood.

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

So we're actually a three piece, our members of BackIVBlood consist of Deri - (Vocal & Guitar ) / Dan ( Drums ) / Alex ( Bassist )

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

We're all from South Wales & we've been a band just over a year & a half now. We've all known each other a long time. Deri & Dan started to get together not long after the pandemic to have a jam. Decided to try & write some music. Once we did, we decided we needed to get out there & play live. Luckily, not long after, we got Alex on board & started work on our set straight away.

3. Describe your music in five words.

Never even saw it coming ( Blindsided )

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

As we're a fairly new band, we're always looking for some exposure & we'd love to get on that stage at bloodstock. Other than that, we're always looking for the opportunity to get in front of a crowd.

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

We have actually played it once before. To tell the truth, it was actually our first show as BackIVBlood, on top of that we suffered technical difficulties, so it didn't go so well for us. We powered through though & just took ourselves back, eliminated what was causing the issues & perfected our set. Since then, we've played multiple shows from London up to Leeds. We're looking forward to some redemption.

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?

Unfortunately none of us have had the chance to attend the festival in the past but to do so for the first time & also play a stage would be something crazy

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

For the rest of 2024 we're going to be all around the place. We've currently got shows booked for Bristol, Birmingham & Whitehaven but hopefully more to follow.

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

You can expect a lot of energy on that stage, a variety of a heavy and diverse setlist. A high intensity performance. A sound that'll make you mosh.

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

We're expecting a memorable experience. Crazy, energetic crowds. Hopefully make some new fans along the way. We're also looking to learn from this experience, get the feedback that we can & build off it.

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

We got our own website, which shows all our upcoming shows, which is - BackIVBlood.com. We're also on all streaming services. YouTube, Spotify etc. Check us out as we'll be releasing new music very soon.

Social links -

Facebook - https://www.facebook.com/Backivblood/

YouTube - https://www.youtube.com/watch?v=Xco1NnJMync

Spotify - https://open.spotify.com/artist/2kZE25kbXyGX0A961AxUrJ?si=M0OtGWW7QZOYmr0WSaCVTQ

Instagram - https://www.instagram.com/backivblood/

Tiktok - https://www.tiktok.com/@backivblood?is_from_webapp=1&sender_device=pc

link tree - https://linktr.ee/BackIVBlood

Reviews Exhorder, Early Moods, Midnight, Floya (Reviews By Mark Young, Rich Piva, Dr Claire Hanley & Matt Bladen)

Exhorder - Defectum Omnium (Nuclear Blast Records) [Mark Young]

From Doom to Thrash, this is the sort of week I love. Exhorder release their 4th full-length album, nearly 5 years after Mourn The Southern Skies. Covid got in the way of the momentum built from that album, but it didn’t keep them down for long. Bearing in mind that they have been around for a long time, and are one of metal’s perennial bridesmaids do they have enough here to warrant your attention?

Yes.

Yes, they do.

From Wrath Of Prophecies detonating your head starts to nod. It's an immediate grab of your attention and they don’t let it go for one minute. As opening tracks go, this is a stormer, from that bouncing riff to the solid drums to a suitably mental solo which this music cries out for. It leans into that Thrash style without sounding like a rehash of anything they have done previously and comes like a punch in the face. 

Under The Gaslight contains one of the most fiendish riff builds I’ve heard in ages. Kyle’s vocals here add that extra oomph to it, it sounds so vital and fresh, and you can see them headbanging under the solo break (Step forward Mr O’Brien). It’s the overall feel to it, of a band enjoying the material and each other that bleeds through. 

There is a touch of punk to Forever and Beyond Despair that sits side by side with some blast-beats until it hits a sludge-like break-down. Again, Kyle puts so much vitriol into his delivery that this is one of the best 1-2-3 openers you will hear this year. The Tale Of Unsound Minds goes for that slow and measured attack that turns over into a stomper of a riff, and that is one of the key things here. They know that it needs something like this to keep your attention and they do that in spades. There are some face-melting moments on this record, and the solo here is one of them. 

In the accompanying bio there is a note that suggested that the album has a little of everything that everyone can dig. This is so true, The Tale…is one such song, bringing just about everything to the table and doing it better than most. Divide And Conquer breaks out the thrash which will result in some collateral damage live.

It’s not hyper fast, it occupies that zone where it is perfect for headbanging. Live, you would think that they will up the BPM’s a touch. Year Of The Goat is more of that approach, but there is no danger of repetition or familiarity. Its similar in tempo only, its arrangement is one of ‘here is a riff, chew on that’ and I defy you not to nod your head along to this.

Taken By Flames chooses old-school brutality in its opening moments as it navigates its way through that slow style of chugging attack until the chains are thrown off and BOOM its head down time. Key changes, high register screams, this one has the lot. For me it hits like a modern-day classic. Its simple in arrangement but that is part of its beauty. It doesn’t try to be anything other than just pure heavy metal. 

Stolen Hope with its opening choir, repeating a mantra thankfully gives way to a little bit of doom with one of those riffs that you know would be royal to play. Stolen Hope shows the breadth of their ability to craft a song with a cracking skill set in it, just as Taken By Flames is a stormer, this is the perfect companion to that song, possessing an impassioned vocal performance that ends so abruptly I thought my earphones had broken. 

Three Stages Of Truth – Lacing The Well is another animal altogether. Starting with a haunting acoustical passage, they drop another stomper in, wild solo over the top and some proper down picked goodness. If you play guitar, its one of those songs that would reward the hard work you would have to put in to do it justice. Riffs come from all directions and is as strong as any of the songs that precede it. 

Sedition goes for a punkish 3-minute blast which serves the purpose of setting us up for the final two –Desensitized just goes for the throat from the start, this is powered by Sasha Horn on drums knocking hell out of the kit and just powers along, taking no prisoners and is an absolute blast. Your Six is our closing track, deploying that controlled tempo once more. On here, Kyle unleashes vocal fire, which is just excellent, making the song fly. The solo breaks are just icing on the cake here and it’s a worthy end to an album I didn’t think would be this good.

And it's good. I’d go so far as to say it's one of the releases of 2024 because it has everything for everyone. It's not just thrash, it's not just groove, or doom, or sludge, it’s all of those things but done in a way that doesn’t jar when held up against the other tracks. And that is one of things to it, the flow of songs is fantastic. They don’t load up the front-end with the blasters, they start high and stay that way. Try them for size. Your ears will love you for it. 9/10

Early Moods - A Sinner’s Past (RidingEasy Records) [Rich Piva]

Early Moods is back, and dare I say earlier than expected, with a new album chock full of the Iommi worship and killer afros that made us all love their self-titled debut in 2022, even though it seems like it came out more recently since it is still in constant rotation for me. For their sophomore effort the L.A., California band brings us A Sinner’s Past which is more of the same Sabbath love and riffs that you got from the first record but with even better songwriting and an even bigger sounding record.

I mean take the opener, Last Hour. Wow, what a song, especially the back half hen the tempo picks up and the guitar work rules all. Blood Offerings reminds me a Sahg, with its creepy riff and chucky proto tempo. The vocals remind me of Witchfinder General on A Sinner’s Past, but if WG had a better studio to record in. This is some evil stuff, especially when Satan himself makes an appearance on vocals on this track. The title track is more of the same, which in this case is an excellent thing, with another killer and fuzzy riff and displaying Early Moods as the tightest they have been on record so far. 

The band is certainly showing a maturity in bot their playing and recording, as the start and stop towards the end of this track is some next level stuff. I love the instrumental opening of Unhinged Spirit leading you to another riff and a killer drum fill (the drumming on this track is the best I have heard from the band). It is this type of track that show that Early Moods is leading the way for proto/doom bands out there today. 

You want more doom? How about we slow it down a bit to go all classic doom and get super evil with The Apparition, the band’s answer to the song Black Sabbath. I also get hints of Cathedral, musically at least. That Witchfinder General comparison hold for a track like Walperguise while Hell’s Odyssey leans towards some Candlemass territory and I love how they pick up the tempo on the back half for some NWOBHM love, dig those dual guitars. Soul Sorcery closes us out, with a evil proto ripper; no slowing down as we end this trip to hell.

I would put Early Moods up against and proto doom band out their today, especially with the step forward they take with A Sinner’s Past. The band has matured as musicians and songwriters while bringing the riffs even more this time, which is saying a lot. Early Moods is one of the best Sabbath worship bands out there, so if you dig that stuff, you know what to do, but these guys are no rip offs, they are the real evil deal. 9/10

Midnight – Hellish Expectations (Metal Blade Records) [Dr Claire Hanley]

It’s business as usual for the blackened speed metal maestros, Midnight. Gritty as ever, Expect Total Hell sets the tone for the record with a fast-paced and frantic onslaught of guitars and decay-laden vocals. However, while filth and depravity are common themes, Gash Scrape fails to have the impact you’d expect from such a title; feeling lacklustre and dare I say it, largely unimaginative to the extent of merely going through the motions. Masked And Deadly has more to offer in terms of dynamics with tempo switches and catchy hooks, as does Slave Of The Blade, but although Dungeon Lust was impressive in terms of the air of viscosity it levels, it lacks noteworthy elements.

The second half of the record is arguably much stronger, with Nuclear Saviour ripping through the record with gnawing vocals, organic energy and a blistering solo section. Deliver Us To Devil has a similar, seriously infectious and rotten aural aesthetic and the grinding, chainsaw guitars of Merciless Slaughter inspired involuntary head banging aplenty. While Doom Death Desire falls short on focal points, FOAL swiftly turns things around; closing out the record with the pulsating, raw aggression that Midnight are famed for.

Hellish Expectations offers up a collection of D-beat delights but clocking in at just over 25 minutes, I can’t help but wonder if the band have peaked and are starting to run out of steam. Much of the record was underwhelming as if I’d habituated to the angst and anarchy from previous releases. Nonetheless, it’s a Midnight album, so great for a quick burst of filth but not something I’d intentionally reach for on repeat. 7/10

Floya – Yume (Arising Empire) [Matt Bladen]

Having seen German duo Floya impress everyone in the building at Radar Festival last year, with only a few singles to their name. You could say their debut full length was anticipated. Phil Bayer (vocals) and Marv Wilder (guitars) are the two wildly inventive musicians behind Floya’s innovative sound where the delay driven guitar lines of U2 (Florescent) are put together with the funky electro pop of The 1975, as snippets of Peter Gabriel (Wonders) and The Pet Shop Boys are weaved within this highly layered musicals group. Both men have done their time in other bands and are influenced by late 80’s/early 90’s radio rock as well as a hefty helping of EDM culture. 

They approached the debut album under the proviso that there were no rules and as such often the guitars don’t sound like guitars, they become shimmering synths on Stay, jangle behind a drum machine on Drift, while they actually get to ring out with jangly melodies on The Hymn. While these shifts in genre are done with ease, Phil’s vocal phrasing and tone is pitched just right to deal with the electro, pop or rock backing created. 

Recorded and written alongside Chris Kempe, a lot of what Floya are about are the non-guitar and vocal elements, the drum programming on Wonders, the slow building Epiphany and others is perfect, locked in with some simmering synths and bright electronics pulses. There’s a sense of joy to this record that puts a smile on your face. It bristles with promise and positivity, a sunny outlook on a grey day. You may have heard some of the singles already but they live up to how good this album is. Modern crossover pop rock which takes risks that pay off. Floya shine bright on their debut. 8/10

Review: Judas Priest (Review By Matt Bladen)

Judas Priest – Invincible Shield (Epic Records)

19 albums, worldwide recognition, true originators and survivors of every trend there has been. Judas Priest have done it all! The Birmingham formed heavy metal icons have been living and dying for heavy metal since the 70’s and on their 19th studio album they show no signs of stopping now.

Recorded with the studio line up of the Metal God Rob Halford still screaming with the power of a man a third of his age, Glen Tipton and Richie Faulkner on those glorious guitar harmonies, that are so potent and important to the history of heavy metal, Ian Hill’s bass forever the backbone of the Sentinel’s ever forward march and Scott Travis a percussive powerhouse born from the speed/shred scene, it’s all been captured by the skilful, legendary hands and ears of producer and Priest touring guitarist (after a little bit of silliness) Andy Sneap.

For a band to still be making records after all these years is one thing, but for them to be in decade and a bit long purple patch is another thing, it seems as if since Angel Of Retribution, Priest have ascended to their rightful place in the pantheon of British metal, their influence felt in every NWOTHM band that has come since.

They have backed it up with some brilliant records, be it the comeback of Angel Of Retribution, the conceptual Nostradamus, the first with Faulkner; Redeemer Of Souls or the explosive Firepower, Priest have leant on the nastier heavier sound they had on Painkiller to keep them sounding fresh and modern while retaining those Judas Priest trappings that most metalheads love.

I say that with some confidence as their influence is such that unlike say Maiden, Priest are beloved by thrashers, death metal maniacs, the blackest black metal fans, classic rockers and everyone in between. Whether it’s Halfords online presence and visibility for heavy metal and LGBTQ+ culture, their resilience to new music trends or just the fact that they’re one of the most ‘metal’ bands the UK has produced Priest probably have a bigger following now than they ever have. Something we’ll see first-hand on the upcoming tour to support this new 19th album Invincible Shield (we’ll be at a multitude of dates)

The album itself, well if you’ve heard the singles you’ll know that it’s packed with Priest firepower, coming out of the gates all guns blazing with Panic Attack, those Turbo-esque guitar synths getting us going before the track kicks in proper. Guitars in fire trading off the riffs as Halford snarls, putting in some screams where needed. It’s a proper chugger driven by the riff and Travis’ drumming, the heart is already racing and we’re on track one.

The Serpent And The King, is Halford in full falsetto, thrashy and rabid, Ian Hill setting a blistering pace but giving some groove on the chorus, Travis still playing as fast as possible, getting some double kick breaks before the solo sections. Faulkner said while the album was being recorded that Priest looked back to their more experimental 70’s (pre-British Steel) sound, to create a bit of prog on this record. There’s elements of this on the speed metal assault of the title track, this is Metal God territory but has a refrain similar to Sinner, another absolute banger and its three tracks in. 

None of the slow burning that Maiden rely on these days, Priest are about pace, hook ‘em fast, hook ‘em strong, get ‘em head banging from moment one. Speaking of head banging, if it doesn’t to the stomp of Devil In Disguise you can’t like metal anymore I’m afraid (that’s the rules), Gates Of Hell settles things a little with a mid-pace plod, it’s not weak but after a so much magic, it lets you at least breathe. Crown Of Horns sits in the middle of the record as a muscular ballad as As God Is My Witness returns to fiery metallic form.

These two tracks help you realise the duality of Judas Priest and how impressive Rob Halford is as a vocalist, he can carry a slow ballad but then go full pelt on the racier tracks, the latter also adding a bit of a symphonic element. The guitar playing is brilliant, jumping from rock metal and thrash, the harmonies always intact. The melodic intro of Trial By Fire comes from the Priest of the 70’s as Faulkner discussed, historical imagery put with classic proto-metal riffs while Escape From Reality brings some psych and some Sabbath, written by Tipton he’s leaning on his influences here.

As we get towards the last few numbers, the quality doesn’t dip, the variation though increases, showing that despite they now have this sense of being a full bore metal band they can still rock like they did pre NWOBHM. More screaming metal comes on Sons Of Thunder the penultimate cut on the normal edition, it’s 3 minute shot of adrenaline that leads into the meaty morsel that is the riff swinging closer Giants In The Sky, a track that is strong enough to make you feel full but leave you wanting more. 

Now there are bonus tracks on the deluxe edition, the classic rocking of Fight Of Your Life, the direct Vicious Circle and The Lodger which is a darkly cinematic song written by Bob Halligan Jr. who is a long-time collaborator with the band. Without these three songs though Invincible Shield is worthy of any Priest or metal fans’ time. They’ve been doing this since 1969 and seem very much Hell Bent For Leather, how long they’ll keep going is anyone’s guess but if they keep releasing material as good as Invincible Shield we’re all in for a great ride until the end. 10/10

M2TM South Wales 2024: Swansea Heat #1 Interview With Inerrant By Paul Hutchings

Interview with Inerrant - Heat 1, M2TM, The Bunkhouse, Swansea 9th March 2024

1. Who is who and what does each person do in the band?

We’re a 6 piece when we play live but occasionally mix up the players.

We consist of:

Paul Fortescue - vocals

Ben Woosnam - vocals

Gareth Rowley - Guitar

Tom Perret - Guitar

Mal Evans - Guitar or Bass

Ben Royle - Bass

Cerys Jones - Drums

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

We started as a recording outfit during lockdown and have become a live band in different guises over the past 4 years. We generally come from the South Wales area, and we've known each other for many years previously through different past bands and the gig scenes around Cardiff, RCT and Bridgend.

3. Describe your music in five words.

Noisy rowdy energetic idiots inni

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

We want to play Bloodstock. Obviously. On top of that we just like playing shows and it's always rad to play to a mixed bunch of moshers.

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

We entered a few years ago when it was judged on a video submission. This was with a different lineup. The band that won that year was Pearler and they made a very professional looking video. Good on ‘em. I, Paul, have previously entered with a past band (Hogslayer) and was lucky enough to get a spot at the festival. That was 10 years ago. Wow.

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?

I try to attend most years and last years I worked as a campsite steward. That was awesome and I really loved the little perks that came with working there. The best thing about the weekend is always gonna be meeting so many nice people and just generally taking home a pocket full of memories. The music is always great from the grass roots to the most experienced bands.

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

We're gonna try and get on some other fests if possible and try and keep playing as much as we can. We're always recording so we'll probably bang a few more records out. One of which we are in the process of making right now.

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

A lot of sweat. Fun. Sweat. Pits. Sweat…. and sweat.

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

We are expecting to meet loads of awesome bands that we can hook up future shows with. We're hoping that people like the party we bring. Win or lose we're gonna have some fun. Nobody ever loses.

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

facebook.com/inerrantmusic

instagram.com/inerrantmusic

Inerant.bandcamp.com

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

Hawxx, Sydney Fate, Rockabye Reaper & Odessa, Fuel Rock Club 01.03.24

Another Friday night, another set of sound gremlins in Fuel Rock Club. Arriving at the venue, were informed that the doors had been pushed back due to technical issues. Which felt a little like Deja vu after the problems that beset the recent Underdark show there that was ultimately cancelled. It must have been the luck of St David though as the show did eventually start but to the detriment of the much publicised and supported headliners.

More on that later as it was Odessa (6) that started the show after stepping in quite late onto the bill for reasons that won’t be discussed here. They did an admiral job of warming up the partisan Welsh crowd, many of whom seemed to be there more for the supports but, hey that’s what they’re for right? Their modern hardcore/metalcore/screamo sound wasn’t really my cup of tea but it was enjoyed by those that were in attendance making sure there was movement down the front from early in the night. A cover of Lim Bizkit's cover of Faith by George Michael winning people over.

A long changeover came next due to lack of sound checking done before the gig and it was fairly new band Rockabye Reaper (6) who took to the stage next. The new project from drummer Matt Thomas, they’re an angsty, modern alt rock band with grooves keys and vocals that bring emotion. They also unfortunately did little for me musically, so far I was two for two but again they had a following that was noisy from the first moments of their set to the last.

Hopefully I fared better with third support Sydney Fate (7) and while again genre-wise I struggled they did feel a bit more coherent as a band, both vocalists working well together with metallic blue collar hardcore, that most of the crowd was here to see from the number of t-shirts they had in the audience. Ripping through their set and encouraging movement with swearwords and aggression. Furiously attacking the mass of people down the front. However after their set they did seem to disappear as did a lot of their fanbase.

This meant that Hawxx (8) were left to start their UK tour to a sparser audience than they’ve hoped and also that they only had around an hour to play, meaning that not every song in their hymn book (given out before the show) was going to be aired. However they did their absolute best to make sure the show was exactly what it needed to be, a clarion call to the women, LGBTQ+, trans and oppressed people around the country and around the world. Proudly draped in the pride flag and condemning violence in Palestine, they spoke to the collective audience of Fuel who are more ‘alternative’ than most. With tracks such as Death Makes Sisters Of Us All, The Worst Thing, Trust Your Rage and the closing bile that’s contained in Bite (Holiness In Fuck), their music is defiant and angry at the world but used to unify those in attendance.

The issue I had was that I would have liked to have heard anything but the drums (for the first half) and the bass (for the second half), the vocals were just about audible but the guitars non-existent. Without the technical guitar playing, the songs lost a little bit of their lustre and the fact that they were short of time meant we didn’t get the full experience. Still I urge you all to check out Hawxx on any of their current dates.

Mr Big: The Big Finish Tour Preview

Mr Big “The Big Finish Tour” Preview

Coming to UK shores this spring is the final tour of American hard rock band Mr Big. Called The Big Finish Tour it’s their way of saying goodbye to the fans that have supported them through hiatus, music industry changes and even deaths. They’ll be playing Lean Into It in full so expect to see tracks such as mega ballads Just Take My Heart and the evergreen favourite To Be With You but also Daddy, Brother, Lover Little Boy (The Electric Drill Song), which is a masterclass in virtuoso performance. And there lies the kicker to the popularity of Mr Big, yes they have rock songs like Addicted To That Rush and radio friendly pop songs like Green Tinted Sixties Mind but they’re all played by a band who are incredible musicians.

Formed when bassist Billy Sheehan left David Lee Roth’s band he hooked up with singer Eric Martin, settling on Racer X shredder for a guitarist and session drummer/writer Pat Torpey, from here they recorded their self titled debut, gaining traction and popularity at that odd time after the 80’s heyday but before grunge. Much of this was due to Martin’s AOR suited vocals and the technical precision of Sheehan and Gilbert, winning over the Shrapnel records crowd with Daddy, Brother… a song that famously is played with electric drills! It was Lean Into It that scored them the most kudos with To Be With You reaching number one in fifteen countries. However by 1997 the band was broken up.

In the early 2000’s they replaced Gilbert with Richie Kotzen (who is now in The Winery Dogs with Sheehan and Mike Portnoy), but by 2002 other projects had taken hold. Sheehan played for everyone, but mainly Steve Vai, Gilbert has released more record with Racer X and plenty of solo outings and Eric Martin went solo and was invited to play with Tobias’ Sammet’s Avantasia too.

2008/2009 saw them reform, ‘one off’ reunion concerts turning into three new albums but by 2017’s Defying Gravity Pat Torpey’s Parkinson’s had started to take hold and he sadly passed away in 2018. The band stated they felt uncomfortable continuing without Pat behind the kit, but have now planned this quite extensive farewell tour with Nick D’Virgilio behind the kit, who can emulate Torpey’s drumming but also his vocal contributions. There’s also talk of a new album. 

However this will be the final time to see Mr Big on a live stage, they’ll be playing their most commercially successful album in full and from experience they are force to be reckoned with on the live stage, all that makes it a must see, whether it’s at KK’s Steel Mill on this short first run, with Jared James Nichols in support or as part of Steelhouse Festival in July!

Reviews: Goat Major, Valhalla Awaits, Fathomless Ritual, Arms And Sleepers (Reviews By Matt Bladen, Paul Hutchings, Charlie Rogers & James Jackson)

Goat Major - Ritual (Ripple Music) [Matt Bladen]

Welsh riff merchants rapidly follow up their digital only Evil Eye EP from last year with their debut full length on the always brilliant Ripple Music. Hailing from the Wild Wild West Of Wales, the trio play heavy occult doom that bangs it’s head very slowly to the likes of Electric Wizard and Uncle Acid, embracing Celtic myths, the occult, the more sinister black magick. 

Ritual is an 8 track journey through woozy, distorted guitars with reverbed vocals and an altar built to Sabbath Worship. The band was brought together in lockdown as longtime friends Jammie Arnold (guitar), Simon Bonwick (drums) and Tom Shortt (bass), initially started out as instrumental only, with Shortt taking up the vocals, not long after formation. It brings a new dimension to their sound as Shortt commands these pagan sermons with the wide eyed intensity of Vincent Price as Matthew Hopkins on Power That Be.

Goat Major though never move that far from their instrumental origins though as for every chorus that’s sung out, there’s a long section of the trio in monolithic union, Simon and Shortt’s rhythmic jackhammer controlling pace with ease as Mountains Of Madness undulates in to some serious, serpentine Sabbath, sounding just as good here as it did on the EP, so too does the creeping Evil Eye and the crushing Turn To Dust. 

But it’s the new stuff that speaks to longevity of Goat Major, drawn from songs honed over their rigorous live schedule, Jammie Arnold’s guitar playing especially good on the hazy Lay Me Down, where acoustics and feedback creates a mysterious closer, but there’s also some effects driven doom on Snakes (Goddess Of The Serpent), proper stoner grooves on the title track and yet more cavernous rhythms on Light Of The End.

Establishing themselves as a force to seen on the UK live circuit, Goat Major back up their live hype with this slab of sacrificial stoner doom, with Ripple Music firmly behind them, one and all will soon experience this heady Ritual. 9/10

Valhalla Awaits - Perdition (Self Relased) [Paul Hutchings]

You may have heard of Valhalla Awaits. The band has a substantial pedigree in the South Wales music scene, drawn from bands that include Buffalo Summer, The Blackout and Revoker. They’ve got a string of high profile shows under their belts, and the promise of many more to come soon.

Perdition is a five-track EP, full of confident and bombastic hard rock, but with a strong social commentary underneath. A collection of stories of humanity, aspirations, and a yearning to take their country back to better times. Nothing to argue about there surely?

It opens strongly with Door Of No Return. Scratch beneath the surface and you’ll find the haunting story of the horrors of the transatlantic slave trade. A thumping riff and a raging tempo kick things off, demanding you move that head. Andrew Hunt is surely one of the most underrated vocalists in the South Wales area, with a soulful yet forceful voice, and he brings a powerful performance on a stomper of a track. This is explosive stuff to kick things off.

There’s a familiarity to Staring At The Gun, an anthem of resilience. It’s got a grungy, Alice In Chains vibe, combined with the power of fellow countrymen Florence Black and the smoothness of Those Damn Crows. A combination of all three makes this an epic song. The groove that underpins it keeps things flowing nicely, whilst there’s a pleasing switch of pace that allows the listener to let it sink in.

Two in, and three more to go. It’s a promising start, and emotionally it hits a new peak with first single Is There Anybody Out There? The background to the song is a bit eerie, with supernatural events having happened since the song was written. It’s a classically hard rock slow burner, one that grabs the heart strings, and pulls you in. Hunt gives another smouldering performance, whilst the intricate guitar work of Rhys Carter and Chris Green give it an extra edge.

Valhalla Awaits bring a different style to most of their songs, but the swagger of We Remain sees them grab their inner sleaze monsters, with a Velvet Revolver vibe surging through the song. There’s a beautiful soaring chorus that lifts the track, whilst the addictive riffs remain stuck in the memory for days. It’s a real grower of a track, getting better every play.

That leaves All Hope Is Lost, and as bleak as it is, maybe there is a little hope hidden within the darkness. Hunt comments “The song was written at the standing stones in Tredegar, where Aneurin Bevan, the great Welsh socialist and founder of the NHS preached to the masses. We long for the time where people are put first before profits and our islands aren’t run into the ground by power and greed.”

Perdition is one solid EP. Cohesive, impressive, vibrant, organic. Catch them if you can, for live, these songs are likely to blow your head off. 8/10

Fathomless Ritual - Hymns For The Lesser Gods (Transcending Obscurity Records) [Charlie Rogers)

Demilich worship from Canada.

Now if you’re like me, you’re sold already. Just in case you need more description than that to get on board with this release, I’ll attempt to describe the aural chaos that Brendan Dean has conjured forth. Dense, angular riffs, smattered with globules of putrid swamp monster vocals, all held together by frantic wandering drums. Intermittent lead lines. A crunchy, janky, nasal bass tone. Utterances requiring a subwoofer to hear properly.

The album varies in pace, centred around a mid-paced stomp for the most part but also utilising some swift passages to add flavour, and slower selections to invoke more of the swampiness that’s a staple in this style of death metal. Tons of groove and hooks splattered across the songs, each having its own draw and pull to move your neck. Production blends parts where the sound is a pure muddy wall, stacked sections where everything has a bit more room to breathe, all the way to spaced out refrains where single instruments take the spotlight. I’m not sure what Mr Dean’s main instrument is, but he excels at both guitar and bass, and the drum programming is tastefully done while also being suitably bonkers.

I can absolutely see this being a tough record to listen to if you’re just beginning your foray into death metal, with the barrier for appreciating the madness that Finnish style riffs encapsulates being sky high. However, for those of us already redeemed in the church of unhinged, chaotic death metal, it’s an easy sell to get this record on. Let’s hope Brendan can get a band together to do this live, because it’d absolutely pop off, and I’d very likely try and be there. 10/10

Arms And Sleepers - What Tomorrow Brings (Pelagic Records) [James Jackson]

The Electronic elements of Arms and Sleepers come as a surprise for me, writing for a generally “Metal” review site like Musipedia has, over the last year or so offered me the opportunity to listen to albums that would have never been on my list. I’ve discovered acts that I didn’t know before and have gone onto enjoy their work and seen them live, I’ve also had a good deal of music come my way that I know I’ll never try again, but that’s part of the fun. 

Arms And Sleepers are, according to a bio I found, ambient trip hop, a sub genre I know absolutely nothing about, over the years I’ve delved into the otherworldly releases of Enigma, hooked since the release of MCMXC.a.D in the early 90’s; the Gregorian chants and dance beats, blending with various percussion elements and haunting melodies was something altogether new to me; Arms and Sleepers offer a similar feel to the more ambient sounds found on the album but the use is subtle rather than prominent as with Enigma. 

It’s a fair comparison to make in general, the odd track or two are of a different spin, the jazz infused Belfast hits differently compared to the hypnotic sounds of Have You Gone To The Moon Yet? but that Ambient Trip Hop tag seems more than apt, What Tomorrow Brings is an album that you can listen to in the background, I don’t think there’s anything particularly special or unique about it but it’s certainly something that would keep you company as you while away the hours; becoming a not altogether unpleasant soundtrack to your day without interference. I think I’m trying to politely say that I’ll not be giving this one another go. 4/10