A View From The Back Of The Room: High Parasite (Live Review By James Jackson)

High Parasite, Hollow Earth And Kill All The Gentlemen - Nightrain, Bradford 28.09.24

It’s a two hour drive from my humble lodgings to Nightrain, Bradford, the location of tonight’s debut gig of High Parasite, the Goth Rock band fronted by My Dying Bride vocalist Aaron Stainthorpe. Opening events are Devon based Kill All The Gentlemen (6) whose blend of Black/Death and Metalcore style riffs has me thinking of Trivium at times, the four piece have the dubious pleasure of playing to an almost empty room, which gradually fills as their set, consisting of tracks from their most recent album Black Canvas, progresses, Kill All The Gentlemen blister through and ultimately leave a mark upon this neon lit Rock bar.

My Dying Bride may not be playing tonight but their presence is felt within the second support act, Hollow Earth (5) whose Doom laden, Sabbath esque, Prog driven epics are reminiscent of the MDB passion for writing lengthy tracks; where this is a staple of the Doom genre however it doesn’t allow for much audience participation or interaction, there’s a heavy emphasis on instrumental music rather than chorus lines that an audience can participate in, culminating in a rather disinterested crowd whose primary focus ought to have been the band but became the bar or each other, there seemed to have been more heads facing away from the stage than there were towards it.

 
I last saw Aaron fronting My Dying Bride on their tour with Paradise Lost as Nick Holmes and crew celebrated 30 years of Icon, tonight however Aaron is heading a different breed of band in the form of High Parasite (10) one of my colleagues has recently reviewed Forever We Burn and tonight is the live debut of the quintet and their album; by the time the band hit the stage the audience has grown in numbers, an eager crowd waiting at the stage as Aaron, Tombs and co stride on stage to a score taken from Beetlejuice. The band blast through tracks taken from the album, a point not lost on Stainthorpe as he jokingly comments on how quickly the songs are over with in comparison to his lengthier songs with My Dying Bride, we are treated to two tracks that have not appeared on the album, so I’m expecting a limited edition on the horizon. 

For a first live performance, the band looked and felt seasoned, admittedly there were a few technical issues as things progressed but nothing that halted or hindered proceedings in anyway, they looked comfortable and seen to be enjoying themselves, the audience too played their part well, we’ve only had 24 hours to listen to the album in full and tracks which had been released as singles are understandably getting more attention and participation. With only ten songs to play through, plus the two “new” tracks, the obligatory encore was short and to the point and as the band bow out to the last refrains, Aaron says his goodbyes and thank yous, promising to mill amongst the crowd, so come say hello and buy a fucking t shirt.

It’s a long drive back so we make our way into the streets of Bradford and back to the car. I’ve got tickets to see High Parasite support Cradle Of Filth in October and after tonight’s performance I’m sure it’ll be just as good.

PS. As I scroll through Facebook this morning looking at pics and videos taken by other fans last night, it seems that both Nick Holmes and Gregor Macintosh of Paradise Lost were out to support Aaron and High Parasite on this new venture.

A View From The Back Of The Room: Misery Loves Company (Live Review By Alex Swift)

Misery Loves Company: RØRY, The Hunna, As December Falls, ALT BLK ERA, SWX Bristol 28.09.24

Despite the proximity of Bristol to South Wales - My home and that of this blog, I am deeply unfamiliar with the city. And yet, tonight’s gig is just a snapshot of what I’ve been missing out on. Albeit one that’s scaled down, from the multi-venue festival that was going to be the second year of Misery Loves Company. SWX reminds me a lot of Cardiff’s great hall, exuding a sense of scale, whilst being deeply intimate. I strike up a conversation with a local who in keeping with the city’s image, gives me a guide to its creative, DIY, and radical spaces. I feel a sense of satisfaction at stepping out of my comfort zone and being in a new place.

That’s an aesthetic which is upheld tonight with ALT BLK ERA (8) powerfully crossing and challenging genre boundaries, from hip hop, to electronic to metal. Despite being newcomers, the duo demonstrates an enormous stage presence, as they channel the righteous anger of their songs into a compelling half-hour of pure, unashamed joy.

Even those crowd members like me, who may not have heard of the band before tonight, are quickly enthralled as they absolutely thrive in their role as a warmup act, whilst standing on their own as a striking addition to tonight’s line-up. “I don’t give a damn if you like it, I’m normally like this” runs the defiant chorus to the band’s final song. At the behest of the performers the crowd chant the words back, middle fingers held aloft, in a show of disobedience towards those who would make us feel ashamed of our identities!

As December Falls (10) take the crown for being the most technically astute act of the night. And yet far from just being incredibly clever musicians, they command a delicate balance of being both emotionally intriguing and sonically pulverising. 

You also get a sense that many members of their already swelling and dedicated fanbase are here tonight, as I meet one person who has travelled all the way from London, specifically to see them perform live! In case you need proof of their ability to make an impression on crowds though, look no further than the gigantic circle pits that consume the venue floor for almost every song of their set. They may only have a short amount of time on stage, but they don’t let a second of that time go to waste!

Being perhaps the longest established name on the billing, The Hunna (8) exude a sense of confidence, as they walk on stage. Admittedly, they take longer to excite the crowd in the same way as the other acts, beginning with some of the more electronic-tinged work that has defined their later material. Where the band really lock into a groove however is with the more traditional, anthemic work that makes their first album, and indeed most of their live set, so exhilarating. 

More than that though, it’s the collective movement and noise of the crowd that causes their performance to become more intense and riveting with time. You quickly get the sense that The Hunna are defined by their live presence, and ability to feed off the excitement of an audience. In a small venue like SWX, the proof of that is made all the more evident.

“Well, that was an emotional rollercoaster” I said to the friend I made at the show, following RØRY (10). Having heard her style of alternative-metal beforehand, I didn’t know what to expect from her live performance. The confessional, visceral outpouring of personal confessions, anxieties, and hopes, both through song and spoken word, transcended my expectation. 

While many artists sing about experiences of loss, addiction, and mental health, not everyone commands them quite so eloquently as Roxanne Emery. Here is someone who has taken control of her own life, her own narrative, and through songs, jokes, stories and audience interaction, has learned to create something deeply positive from those experiences. At nearly 40 years old, she confesses that hers isn’t the likeliest of success stories, as she mocks her appearance, albeit with a self-awareness to indicate that she doesn’t care if anyone thinks its too late for her to pursue music or express herself authentically.

At one point during the show, audience members are invited to raise their arm if they have ever experienced loss. Almost every arm the crowd went up. As RØRY asks each person to (“if you feel comfortable”) embrace the person nearest to them with their arm raised, we are made to feel that our own experiences of adversity, can be overcome in the comfort of friends, and the love of music. 

I am someone who is unfamiliar with Bristol. I owe that in large part to a traumatic experience I had there when I was a child. In the few times I’ve been there in the past few months, I’ve made a friend, got a taste for the community, and grown in confidence. Being able to relate to so much of the music tonight, feels like an acceptance of that growth, irrespective of the past!

Reviews: 1349, Dark Divine, Infen, Devenial Verdict (Reviews By Rick Eaglestone, James Jackson, Mike Pickett & Zak Skane)

1349 – The Wolf And The King (Season Of Mist) [Rick Eaglestone]

Carved from the frozen Norwegian landscapes, black metal titans 1349 return with their cataclysmic new album The Wolf And The King.

The album wastes no time to erupt into a frenzy with the blackened laced The God Devourer which then spirals into Ash Of Ages with a menacing groove. An ominous mist then forms around Shadow Point which is easily one of the album most intense track which is complimented with some great guitar solos on follow up track Inferior Pathways.

The album is based around a classic alchemical allegory: A wolf devours a king. Then the wolf is devoured by flames, and a new king rises from the ashes which is delivered well through Inner Portal and structures the narrative into it also. This is bands eighth album, and the artwork and lyrics are filled with references to this number of infinity,” Ravn explains. “You can basically go on a quest finding references to the number in the artwork.”

Moving to The Vessel And The Storm there is a real injection of influences alongside dominant basslines and relentless drum patterns, alongside this is the cold, bleak construction of Obscura before final track Fatalist creates a hypnotic outpouring. There has most definitely been a shift with this album which at times has had a real doomsday aesthetic but at the same time 1349 have stuck to their original ethos. 7/10

Dark Divine - Deadly Fun (Thriller Records) [James Jackson]

Orlando, Florida is the home of Disney and Universal Studios, theme park attractions known the world over for their fun filled family entertainment; nestled in the sunshine state of Florida.. out of which has come Dark Divine; a metalcore band very much in the vein of Motionless In White and they release the Deluxe Edition of their second album this October. Deadly Fun opens the album and within the first track that comparison to MIW is hugely evident from the use of a horror film intro, the balance between harsh and clean vocals, the guitar tones feel similar as does the use of samples/synths. 

The rest of the album follows a similar approach, it’s Metalcore, offering a hint of something more Pop like at times, there are catchy riffs, singalong choruses and the emphasis on the vocals when needed, utilising the harsher style in contrast to the cleaner more melodic notes. Cold, offers a slightly different tone, it’s a bit more personal and the sound and pace of the track reflect that emotion and stands out from the rest of the album because of it.

The addition of Fame On Fire’s Brian Kuznitz as guest vocalist on Paper Crown has the grey cells firing and a quick search shows me where I recognise the name from - they’ve done a few covers I’ve heard of. For a first time listen, this isn’t a bad album at all, as a on/off listener of MIW there’s a familiarity to the songs as much as there is with any other band of a similar ilk; for those that already know of the band the big draw for the release of this Deluxe Edition would be the bonus tracks. 

Starting with the recently released single Digital Numb and it’s as much as anything that was previously released but it’s the following tracks that are the most diverse and offer a different take upon a few songs already released. There’s a Synthwave (a genre I’ve recently got more into) version of Drown, which offers a cleaner vocal line throughout alongside an obviously more Synth led sound and dance beats which allows a more accessible and upbeat version of the song. The aforementioned Cold gets a Cinematic version, it was already an exercise in emotion but the piano led score offers a deeper hit. 

Where I probably won’t pick the album up again, that final track, Cold (Cinematic) will get a few more listens before the week is out. 6/10

Infern - Turn Of The Tide (Dolorem Records) [Mike Pickett]

Turn Of The Tide by Infern delivers a punishing blend of old-school death metal with a modern edge. Formed in 2019 by Sylvain Collas (Stonebirds), Julien Tanguy (Gengis), and Pierre-Loup Corvez (ex-The Dying Seed), the band aimed to revive music inspired by an old vinyl they discovered during a harpoon fishing trip. Joined by Jean-Marie Grövel (Gengis) and Simon Beux (Gengis, ex-Taliandörögd), Infern pays tribute to death metal legends like Obituary and Bolt Thrower. 

From the opening riff of Undertow, this album is relentless. The mix of chunky, low-end riffs and clean mids by Corvez and Grövel creates a deliberate, intense atmosphere. Collas' bass stands strong throughout, especially during key moments where the low end shines. Beux's drumming is sharp, driving each track forward, while Tanguy's raw vocals complement the album’s heaviness perfectly. 

Produced by Charles Elliott (Abysmal Dawn, Go Ahead and Die), the sound is massive and immersive, with each instrument balanced perfectly. The album’s production captures that classic 90s death metal feel but with a polished, modern edge. I never felt the need to skip a track—each song flows seamlessly into the next. Rather than revisiting just a few songs, the entire album presents well-crafted tracks that form a cohesive, immersive experience. By the time you reach Buried Alive, you’ve witnessed some of the best death metal of 2024. 

This is one of my favourite thrash albums of the year and will stay in my regular rotation. 9/10

Devenial Verdict – Blessing Of Despair (Transcending Obscurity Records) [Zak Skane]

The Helsinki four piece avant-garde death metal act shows no sign of taming it down with their second release Blessing Of Despair. For example, As soon as the opening track I Have Become The Sun begins we are greeted with walls of dissonant black metal inspired guitar riffs curtsey of Sebastian Frigan, along with blast beats from Okko Tolvanen that are lashed with reverb which just give it this huge wall of sound. Riku Saressalos low demonic vocals come in crystal clear whilst still cutting the listener like broken glass. The instrumental sections consist of chimed baritone notes whilst odd meter grooves provide the thunder in the background. Through out the song we also get chorus heavy affected solos that soar through the mix. 

The following track Garden Of Eyes opens up with heavy room sounding drums grooves before we get chunky chugging riffs that would give Gojira a run for their money. The lead guitars on this track come with rise and fall whammy bar trickery, whilst creating a cocktail of John Petrucci exotic licks which harnesses Kerry kings violent aggression. Blessing Of Despair brings in death metal riffs that are laced in gothic metal elegance with the guitar tone being mixed in with chorus effects, even the clean guitars are spiked with The Cure inspired chiming and detuned tones. 

The blast beats through out the whole song come with this more natural production, which brings in more dynamics in comparison to other death metal productions in the scene. Whilst the album has it’s other riffy highlights such as Solus which brings in some Devin Townsend technical bombastic energy whilst Counting Silence has huge droning stoner riffs and spacey over dubs, but the album has quite a few slow burning moments. 

For example, Blessing Of Despair brings in dominant scale produced reverbed guitars that swell from the edge of breakup tone to distorted tremolo picking, whilst the drum transition from gentle jazzy rim shot beats to intense blast beats. Cold Lantern still continues the ambient spacey wall of sounds whilst the vocalist brings an avant-garde approach to his performance by adding…what I can describe as wheezing sounds, which sounds weird on paper but when listening it in the mix it makes sense before his chilling approach is seeped into the verses. The final track on the album brings it to a dramatic closer by beginning with some atmospheric baritone voiced arpeggios played over dry bell sounding drum grooves, which sound like a demonic wild west sound track. 

The track gradually builds up in layers of choruses spiked lead guitar melodies whilst the drummer builds up velocity until they drop out for the final bars. Devenial Verdicts’ Blessing Of Despair continues the ambient momentum from their previous release but slightly turning up the avant-garde like qualities with the gothic inspired arrangements on Blessing Of Despair to the experimental vocal delivery on The Quietus, proving that they bring more depth to the death metal genre. 7/10

Reviews: Undeath, Hermano, Maul, Sinistro (Reviews By Mark Young & Rich Piva)

Undeath - More Insane (Prosthetic Records) [Mark Young]

I had the pleasure of catching Undeath live at the Star and Garter in Manchester last year where a wholesome night of entertainment was had. Touring on the back of their It’s Time…To Rise From The Grave, they served up a night of massive riffs and searing brutality. Oh, and a shared love of Greggs.

Their third album doesn’t immediately show any signs of change, but it’s there, buried deep but what is the same is that there is no wasted air. Its straight into that swinging death metal, where that synchronicity between each component is running. Dead From Beyond churns with that mix of the straight ahead battering and later technical melodic lines, always anchored by that backline that keeps it all in check. When they drop the one-two of More Insane and Brandish The Blade there is a subtle shift, a noticeable inclusion of melody that makes them both head and shoulders above the opener, it’s the sound of Undeath hitting top gear. 

More Insane is frantic, almost the musical equivalent of a mental episode. Riffs are here, the bass is there, and the drums are constant in their attack. Brandish The Blade has this fucking awesome starting arrangement, and from there they don’t let go. This is the stuff that causes circle pits to erupt, and it sounds amazing. The break at 2.10 is just quality, with the outro solo/rhythm is just gold. I think this is one of my favourite songs of the year, that melody line is just fire.

Disputatious Malignancy is pure chaos, and that approach comes and shakes you up to show that they are capable of dropping an exercise in lunacy at any moment. Where Brandish seems structured, Disputations is a different proposition. Sutured For War is something else again, its like a death metal waltz. With pinched harmonics. Remember that change I mentioned? It’s in how they are building the songs and it is so subtle that it takes a couple of listens for it to sink in. At first, its all guns blazing, battering of the senses metal. Listen again and that melodic touch makes itself heard. It's still heavy, but it hits so well. The discord into lightning fills into harmony parts in the latter stages is just incredible, played out against the rapid double bass. 

You can pick any song off here, and it will tick your heavy metal box, it will also offer something different each time round. Cramped Caskets (Necrology) is a continuation of It’s Time material, no less effective than the songs they delivered then but held up against Sutured it pales a little in its company. Bounty Hunter is a dense crawl, favouring a more mid-paced attack to drive those riffs home and that slower pace is welcome, just to provide a breath before we enter the final act. Wailing Cadavers is a straight up pummelling, no frills just brutality. Check out that break at 1.45 onwards, this is caveman time. And why not?

The attractively titled Disattachment Of A Prophylactic In The Brain (which is difficult to type as it is to say) which has an almost happy tone to it. For about 10 seconds before it descends into blur of extremes. They do repeat it mind, and then somehow build an aggressive monster from it in a way I didn’t expect. Of all the tracks here, I think that this could have been trimmed by half and it still would have been a belter. As it is they drag it around the block a bit, and then put it down. 

Bones Clattering In The Brain is back to that dark, rapid, skittish riff fest that only a few bands seem capable of pulling off to the same effect as this. This is how you sign off an album, with all hands going for it and providing an irresistible blend of speed with a deft touch, and heaviness with clarity. There is some beautiful riffing going on in here, and I think that sums it up as a whole. There are some class songs on here, some do land better than others (ok all bar track 9 which just didn’t take with me) but its a cracker and is sure to be bludgeoning its way onto AOTY lists come December. 9/10

Hermano - When The Moon Was High (Ripple Music) [Rich Piva]

Yes, we have new Hermano material. This should be cause for everyone to celebrate. It is only two new songs and four never released before live tracks, but who cares, we have new Hermano material. When Ripple Music announced the project to re-release all of the old Hermano records, main Ripple man Todd hinted at some new stuff, as did Hermano guitarist Dave Angstrom, but hints are one thing, to have new Hermano songs in front of me on wax and blasting through my speakers is another, and here we are in the form of When The Moon Was High.

Let’s talk about the new tracks first. Breath is classic Hermano. The killer riff and John Garcia’s classic vocals say Hermano is here and is back, as loud as they possibly can. I love the background vocals on the track and the bit of effect of the guitar makes this one even more special. This song fits perfectly into Hermano history and sounds like the band never stopped recording all this time. Dave Angstrom and Mike Callahan’s guitar work is excellent (that riff!!!), especially the solos, which it sounds like they may have traded off on it, which is very cool, and Dandy Brown and Chris Leathers stay tight as ever as the rhythm section. Classic. 

The other new track is not really new, more like lost and found during the repress project, and is an acoustic driven stoner psych chill fest call Never Boulevard from way back in 1998, tracked during the first Hermano sessions. Garcia’s vocals here are sung more than he usually sings (I think you will know what I men here) and has a very 90s alt rock feel, in all the best ways possible. Great stuff. The four live tracks are all great, one from Willem Twee Poppodium in 2004 (Brother Bjork) and three from the last live performance of the band till date, from 2016’s Hellfest, including my favourite Hermano song, Senor Moreno’s Plan. All sound great, and the hint that Dave gave on that same podcast about a release of that full show is very exciting given how great these three tracks sound.

New Hermano stuff. What more can I say. Go listen, because Hermano rules. My only issue here is that the greedy bastard I am wants more, and it sounds like we will all be getting it soon. For now, let’s celebrate this amazing band with When The Moon Was High. 9/10

Maul - In The Jaws Of Bereavement (20 Buck Spin) [Mark Young]

Recently I’ve noticed that with certain death metal bands they are doing more than just dropping a speed fest or use a flurry of noise, often at a certain pitch to maybe mask defects in their ability to write quality metal. Maul, with their opening gambit In The Jaws Of Bereavement go for building a slow burn approach, filing it with statement riffs and a focus on control, letting each component part do their part in service to the whole so that you end up with a song that grabs and allows them to then batter you with the follow up, in this case the fiendish Blood Quantum. 

Tempo wise it is cut from the same cloth but attacks in a different way. There is double bass but its used sparingly and riffs stop and start, all the while Garret Alvarado growls as low as is possible over the top. Its heavy without forgetting to bring the necessary touch of melody to it and suddenly you have two first class openers.

Weaving Cerebral Horrors keeps that flow going, controlling the pace to suit to suit the moment. When they speed it up it’s not done as a means of proving they are the fastest, no its more to be able to add to the build as they see fit, expanding their sound with a corking riff set that is paced perfectly. Dropping some lovely triplet action in, Spontaneous Stigmata has that forward movement that comes from understanding that they don’t need to be hyperfast, and in doing so cover a lot more ground. 

When the lead comes, it fits completely showing that they have focused solely on writing the best songs that they can where every act is seamless and there is nothing wasted. It is also heavy as you like. What you also find is that this ability manifests itself right through each song, penetrating to the very core. From the atmosphere of An Alluring Deceit to the simple brutalism of Midwest Death which has that stomping action down which you know will translate to live carnage.

That decision to stay within that mid-paced tempo pays dividends on Unbridled Delusions with its Slayer-esque guitar lines that drop into a dead-on down pick moment that gladdens the heart. It’s the little touches that light this up, the pre lead rhythm that anchors both, the gradual slow down like a train hitting the brakes shows that confidence I referred to earlier where they don’t need speed when they have riffs as glorious as this. 

Saying that, the tone on Stuck Stomped And Smeared is pure filth, and that chugging build is spot on, it is so simple but works so well. They don’t overcomplicate it at all, its just pure feeling which comes through every chord and every drum strike. I would suggest that those wishing to learn how to write quality riffs get onto this.

With Each Voracious Lick, our penultimate track keeps us in the lower regions of the guitar, with some seriously low vocal work here that compliments and the final track, well that is just a barnstormer. Drawn To Drowning is all down picking and pinched harmonics and it possesses a wicked groove to it. The way the album has turned out, avoiding light speed guitar and blast beats means they have worked harder to make each song hit, and hit well. Everything is ‘just so’, not a hair out of place or wasted ideas. 

Its original, well-thought out and incredibly confident material that others maybe should look at for what makes for great death metal. October shows no sign of slowing down, with releases stacking up but this is special, and you should make every opportunity to get hold of this and savour it. Brilliant stuff!! 9/10

Sinistro - Vertice (Alma Mater Records) [Rich Piva]

If gigantic epic doom/post metal the likes of Paradise Lost, Cult Of Luna, and Alcest floats your boat, but with female vocals sung in Portuguese then the new Sinistro is for you. The band is back after a lengthy time off with a new lineup and new album, Vertice, but the same huge sound that got them signed to Season Of Mist back in the day. There new stuff is even bigger and more grandiose and should bring some new fans to the fold.

I have no idea what she is saying, but Priscila Da Costa’s vocals on Vertice are amazing. Check out Elegia and Pontas Soltas for proof. Musically you can tell this band started as an all-instrumental band because they can really create some very cool doomy atmospheres that could live alone without vocals but that voice makes the songs on Vertice even better, with the opener, Amargura, as a great example. I like to spooky doom vibes on O Equivocado that goes heavier on the keys with great success. The record is long and require patience, as Vertice is six songs and almost an hour, so be ready for that. It does get a bit much in places, and especially will for the people with a shorter song attention span.

Sinistro can play, Priscila Da Costa can really sing, the band can put together some serious arrangements, and they sound super tight. Vertice is a bit long, but if you like your doom big and epic the new Sinistro should be enjoyable for you. 7/10

Reviews: Transport League, Mother Of Millions, The Native Howl, Ignominous (Reviews By Matt Bladen)

Transport League - We Are Satan's People (Black Lodge Records)

There's only a few bands who can throw in a snippet of both Sabotage (on the rollicking Grind You Down) and Daddy Cool into their songs, but then there few bands that have the take no shit attitude of Swedish riffmakers Transport League.

Forming in 1994, they are contemporaries to the likes of Clutch, Down, Spiritual Beggars, Hellacopters and Sasquatch and others that are in that they remind me a lot of, spiky, stoner rock n roll with breakneck riffs, snarled vocals, big ol' grooves and riffs to spare. Since reforming in 2013 they have been more prolific than they ever were both in releases and touring but obviously 2020 put paid to that.

Though the engines were running, the tyres were changed and the disintegration of the world inspired more raging rock n roll. Culminating in We Are Satan's People, the never ending riffs, tonal shifts and lashings of groove all return and the result is 11 more tracks of no nonsense stoner/biker/racecar rocking.

Be it the brooding, hardcore influenced Hollowed Victory, the chugging industrial groove metal of Primate Apeshit, the Sabbath worship of Cosmo Death featuring Sandra Mattsson & Louise Törner of Lamasthu, who reappear a few times for some soulful backing vocals. I'd not heard much of Transport League before this record but yeah this will definitely appeal to the stoner/riff crowd, fat chugging riffs, clever lyrics and a decidedly Swedish edge. 8/10

Mother Of Millions - Magna Mater (ViciSolum Productions)

Greek prog metal act Mother Of Millions take the Leprous route with their music. That is atmospheric, emotive ambience weaving into chugging palm muted prog metal, culminating in rhythmic, catchy songwriting and lyrics sung with soaring soulful vocals, that harder tone witnessed on the title track which features some harsh screams and female vocals. With their previous album Artifacts they received critical acclaim and were able to take their music outside of their native Greece, there is a huge call and love for this music (just check out how many bands we feature in this publication) so it’s no wonder that Mother Of Millions have continued to make strides into the storytelling style of Leprous et al.

 
However they’ve also dialled up the heaviness, a lot has changed since their last album in 2019, the world is angrier and as a result so is Mother Of Millions’ music, the riffs are more down-tuned and hit harder, the slow build of Inside giving you that initial exposure to what I mean. The pulsating synths laying a back beat alongside the bass and vocals, drums almost distant and sparse in the verses as there’s an oscillating build with layers before the heaviness returns. Mother Of Millions are especially good at the build and release, they’re also good with grooves, the chunky Feral full of it as is the brooding Liminal.

The electronics bristle throughout the record, keeping the soundscapes that were the trademark of the band’s keyboardist Makis Tsamkosoglou, who passed away tragically and unexpectedly, their first release without him was 2022’s Orbit EP but Magna Mater feels like a tribute, to his life and the lives of anyone else we the band and the listener have lost. I use the word cathartic a lot but it’s difficult to describe Celestial as anything else, the keys such a powerful part of The Line, another build and release masterclass and the best song on the album for my money. Magna Mater continues the anthemic brilliance felt on Artifacts but makes it known that they still consider the heavy side to be important to their sonic development. 9/10

The Native Howl – Sons Of Destruction (Sumerian Records)

If Metallica leaned more into the country/bluegrass after Load/Reload, then they may have ended up with record like Sons Of Destruction. With Hayseed Dixie and The Dead South the other bands many will recognised in the crossover/bluegrass sound The Native Howl merge banjo’s, bouzouki’s and acoustic chicken pickin' with thrash metal electric guitars, blast beats and vocals. So Metallica meets Earl Scruggs, Molly Hatchet meets Megadave it’s ‘thrashgrass’ from Michigan. The four metalheads wanted to do something different so entered into Season 1 of the TV show No Cover and after winning signed to Sumerian Records to record this debut release.

It was preceded by a number of singles, all included here, especially Mercy which features the brilliant vocals of Lzzy Hale (there’s very few genres she can’t sing) and their cover of God’s Gonna Cut You Down an American folks song famously performed by Johnny Cash. It’s all furious and flashy, Can’t Sleep evokes Jim Dandy and Black Oak Arkansas, while the title track reminds me of Rebel Meets Rebel, where Outlaw Country icon David Allen Coe performed with Vinny Paul and Dimebag from Pantera (seriously if you like this check that album out).

The banjos often substitute for lead guitars, played with speed on No True Scotsman, a full on thrasher without the need for distortion (or wah pedal). Focussing their lyrics on the darker in things life, see Waco, Stockholm Syndrome, The Native Howl take quite an innovative but obvious sound and make it work. 8/10

Ignominous - Dawn With No Light (Vinyl Store)

Ah Greek black metal, it's incestuous and has been forging it's own path for decades. Formed in Thessaloniki in 2020, bassist Anestis Nekhromancer, guitarist/vocalist Chris and drummer Billy Vongaar started working on music but health issues due to the pandemic delayed the creation of this album but here it is in 2024 and these three veterans (they've all been in various Greek bands) unless ferocious black metal the Hellenic way.

From the brooding to blasting Nightwounds which shifts between speed and doom, the atmospherics of Apostrophe give it a slow world. The pace quickens on Aurora Borealis, technically is abound here the riffs razor sharp but the vocals sounding like they've gargled those same razors. The orchestral swells and gothic moments are ever present on the album but are more obvious on The Coming Fall and The Dawn With No Light.

Ignominous' debut has been a while in production due to various reasons but with the adversity no conquered they look to do the same in the Greek extreme metal scene. 7/10

Review: Lowen By Matt Bladen

Lowen - Do Not Go To War With The Demons Mazandaran (Church Road Records/Laid Bare Recordings)

Fucking Hell! I don't often swear so openly in this publication but the second studio album from London Epic Metal band Lowen is simple astounding. There's so much to talk about but really you just need to listen and drink it all in. To sum up I'm not sure what I enjoy more; Bolt Thrower-like shredding, Cathedral-esque doom,  the influence by Persian/Pagan music/culture and history or that it features one of the best singers in the metal scene and not a single duff track. 

So yeah I like it but so should everyone, it's a fully formed metal masterpiece, clad in a magnificent cover art from painter Hervé Scott Flament, the entire record screams loudly about how accomplished it is. If you aren't won over completely but the time Corruption On Earth finishes I don't know how to help you, as from this track alone you're set for the ride of your life, a maelstrom of musical accomplishment met with A-Star performances. If by Najang Bah Divhayeh Mazandaran you don't like this record then I suggest you try another genre as, it perfectly distils several of the best parts of heavy metal music together.

Using shorter run times and a faster approach on this second full length, well third if you count their acoustic album, to pack as much into each song as possible, drummer Cal Constantine gets a workout on every song as he guides the rhythmic patterns, joined by traditional percussion and repeating ictus of Persian music, while maintaining furious blastbeats for the metallic sections. If you've never heard the band before, think of them as having the same progressive doom metal as Oceans Of Slumber, but leaning more on death/trad metal as a counteracting sound from guitarist Shem (May Your Ghosts Drink Pure Water) shredding his face off, his playing mesmerises as it stays in the doom/death distorted style but manages to never become to stuck in a groove.  

Vocalist Nina evokes her exiled Persian heritage through her vocals from the avaz and tahrir style of singing and use of traditional Middle Eastern instruments such as the daf and santoor, in direct defiance of the draconian laws of her ancestral homeland. Najang Bah Divhayeh Mazandaran has Farsi and Sumerian lyrics, Waging War Against God is sung in Farsi and Ghazal For The Embrace Of Fire features an incantation from Neo-Babylonian era. The continuation of what they did on their two previous albums, relying on the way the words sound and carry rather than the language used to convey them, Nina's range and cadence is astounding and bewitching at every moment.  

That's not to say the lyrics are unimportant, to the contrary, Do Not Go To War With The Demons Mazandaran is a concept album based upon a story from the Shahnameh, it is about the folly of rulers extending their empires without thought, eventually going to war with the demon, which he will lose. Within the concept are more real events such as the death sentences put on women who protest inside Iran as part of the Women Life Freedom Movement, it's really in-keeping with the theme this record has of hubris from leaders who become powerful without reproach, the idea of those who apparently appointed by God.

Lowen have conjured themselves an album of the year with Do Not Go To War With The Demons Mazandaran, I've also seen it been called an album of the decade and id have to agree as, there are very few bands who can hold a candle to the hallucinogenic, spiritual, poignant music of this truly special band. 10/10

A View From The Back Of The Room: Cannibal Corpse (Live Review By Charlie Rogers)

Cannibal Corpse, Municipal Waste, Immolation, Schizophrenia, Bristol Beacon 25.09.24

A surprisingly grand venue for such a wild tour package, it was my first time at the Bristol Beacon and I’m keen to return. The grandiose setting was a nice change from the dank pits normally host to death metal, the walls adorned with posters advertising orchestral performances and a considerable seating section that offered respite for those of us too tired to brave the throbbing masses who are eager to pit, was a welcome sight. 

With an early start time kicking things off, I hurried in to catch the opening act, Belgium’s Schizophrenia (6). Sporting a high energy, death/thrash hybrid, the youngsters hit the stage with real enthusiasm, clearly over the moon to be on such a class bill. It was easy to see why they were picked too, with both the catchy thrash approach that Municipal Waste embodies, and the hard hitting death tonality that Cannibal Corpse are the quintessential essence of. Furiously marching across the stage, often swapping places with each other, they made the most of the space available to them. 

Musically, the riffs are solid, the drums are tight and fast, but ultimately I’m struggling to recall how any of their songs went. All pizzazz, no staying power. Maybe given time they’ll work out how to turn that energy into hooks that land, but for now it’s hard to recommend them outside of the moment. They did get the crowd going however, and even got a circle pit, an impressive feat for an opening band.

Next on the bill, New York’s Immolation (6) took to the stage. Supremely intense, their stage show was less about side to side movement, and more about the vertical chopping of the stage right guitar. Between song banter kept to a minimum. the Immolation machine mechanically delivered a solid set of vigorous death metal.

I’ve never given Immolation a proper listen, and I feel like more familiarity with their 30 year history might have increased my enjoyment of the set, but on the night it didn’t quite do it for me. I was in the minority there though, as the crowd were lapping it up. Closing the set with one of their classics, ironically the song I vibed to the most, was Into Everlasting Fire from their debut album which also elicited a strong audience response.

Top support was Virginia’s Municipal Waste (8), the crossover thrash outfit equipped with riffs and tunes about partying galore. It was at this point I chose to seek refuge in the seating area, keen to avoid the inevitable wave of crowdsurfers, and I was pleased to enjoy an uninterrupted view of the stage antics and being level with the sound engineer meant the sound quality was crystal clear. Driving through the set, they played exactly what you’d want from the denim clad beer enthusiasts - non-stop high tempo thrash with duelling guitars and rapid fire vocals. 

The pit intensity increased, the circles got wider (though it did initially need some encouragement from frontman Tony Foresta), and lo - the crowd surfers did come. Tony’s shoutout to the Welsh contingent was a nice touch too, it’s always good to know bands outside of the UK actually know that Wales exists (hey some of them should tell the guys booking the tours nowadays). Fun, tight, and commanding the crowd with ease, Municipal Waste were a great choice for this tour.

Closing the night was THE death metal band, Cannibal Corpse (10). These titans of the genre have earned their place at the top of the totem pole, with an extensive back catalogue of solid hits and the unmatched stage presence of George Corpsegrinder Fisher, Corpse took to the stage with thunderous applause and launched straight into the riffage. Sporting a set balanced between newer tracks and proven bangers from the vault, the extremely polished, expertly executed performance demonstrated why they receive the welcome they do. Hard to elaborate more on how good they were, but yet again my socks were blown off, If you get the opportunity to see Cannibal Corpse, you definitely should. 

Closing the set with Hammer Smashed Face, and a sizeable wall of death, I’m already looking forward to the next time they roll into town - hopefully on this side of the Severn!

Reviews: Blue Heron, Soul Asylum, Dead Sacraments, Half Me (Reviews By Rich Piva & Matt Bladen)

Blue Heron - Everything Fades (Blues Funeral Recordings) [Rich Piva]

Damn, that was heavy. That was my initial response when I listened to the new Blue Heron record, Everything Fades, for the first time. It is also the reaction after the first dozen and I assume beyond, because this bad boy is a crusher. Everything Fades is nine tracks that are the definition of heavy in stoner rock today and should be the prototype for bands who want to bring it.

The riffs, the vocals, the subject matter, the tone, the vibe, the title…there is nothing not heavy about this record. Null Geodesic immediately crushes you with death by riff and vocals by Jadd Shickler that will eat your face off. Don’t be fooled by the tame opening of the title track, because the riff is here to flatten you. The drum work on this album is fantastic, really pushing that heavy button, so I need to call out how awesome Ricardo Sanchez work is on this record. Blue Heron has perfected the heavy slow burn with Swansong, which reminds me of something from The Age Of Truth. This record is filled with gigantic, monstrous, world eating riffs brought to us by Mike Chavez who knows how to shatter the earth with his axe, as this track shows. 

We Breath Darkness is more of the heavy, with this song being the best vocal performance by Shickler, as he doesn’t need to add the gruff to his voice to be effective. Steve Schmidlapp’s bass keeps this one grounded, and he partnered with Sanchez have one of the rhythm section performances of the year on Everything Fades. Dinosaur is a track of the year candidate and lives up to its name. I love the riff and I love the drumming, something I could repeat nine times (and may have). Just crushing. 

How about we get a little psych action going with so very cool guitar work on instrumental Trepidation, that leads into more crushing riffs and drums on Clearmountain, which keeps a bit of the heavy psych vibe alive to go along with the perfected heavy stoner doom. This is THE drum performance of all of the killer ones on this record. Bellwether is my favourite though, as it has all of the goodness that I have called out previously in one track, almost like the build of this record all cumulated in brilliance of this song. I do like how the album didn’t end on that note but on Flight of the Heron, a one minute plus instrumental used to both close us out and leave you wanting more.

Everything Fades is the definition of heavy. If someone comes up to you and asks for some heavy ass stoner rock this should be your first choice without question. I see a lot of the birds the band is named after living in Florida, but what you do not see here or anywhere else are bands that can bring the heavy like Blue Heron. This is a must listen for anyone who even pretends to like heavy rock. 10/10

Soul Asylum - Slowly But Shirley (Blue Elan Records) [Rich Piva]

Soul Asylum was never a grunge band, though they were certainly marketed and bundled with them back when their big record, Grave Dancers Union dropped in 1992 and continued to have hits off said record through 1993. What a lot of people did not know was that GDU was actually their sixth album and the band was more like other Minnesota bands Husker Du and The Replacements than Pearl Jam and Soundgarden, but Dave Pirner looked and played the part perfectly, and created some serious success for the band in the mid-90s. 

Even the songs on their two biggest records were more pop rock leaning or even alt country-ish more than grunge, but the 90s were what they were, and I will always have Somebody To Shove on my list of favourite songs ever. Pirner has kept the band going, with him as the only original member, creating more pop rock gems, now very under the radar, without rock radio and MTV to help push his always good stuff, with the new record, Slowly But Shirley, being another example of how underrated he is as a songwriter and that the band should never had only had one really big record, as Dave really is one of the more talented songwriters coming out of that era.

Slowly But Shirley isn’t going to brake barriers or produce throughs of new fans, but this is a very solid effort for what Soul Asylum is in 2024. High Road is Big Star inspired pop rock goodness with Dave’s voice sounding great. Freak Accident is another strong track that sounds right off of 1995’s Let Your Dim Light Shine, and the one two punch of Freeloader into Tryin’ Man and its funkiness is my favourite part of the record. Waiting On The Lord is a fun and different (for Soul Asylum) track too. While the band had some hits with their slower, ballad type tracks, I preferred when the back rocked, so the bluesy Sucker Maker is another one right up my alley with Dave’s vocals a ton of fun.

Soul Asylum in 2024 is still enjoyable and still worth your time if you are a fan. Slowly But Shirley is a fun listen and Dave Pirner continues to be one of the more underrated songwriters of our time. 710

Dead Sacraments - The Pale Temple And Others (Self Released) [Matt Bladen]

Four slabs of monolithic doom metal from Dead Sacraments comes in the form of The Pale Temple And Others. Conceptually about doomed protagonists telling stories drawn from the imaginations of the four band members, The Pale Temple And Others is the second album from the Chicago band following on from 2019's Celestial Throne. 

Now you may think this is an EP but all four songs are over 10 minutes long so it's definitely and album and one that needs your time and attention as Dead Sacraments play the sort of doom that hypnotically draws you into their fuzzy world, a catatonic dirge like The Mountainside or The Weeping Court bring the desolation. Lovers of glacial ominous doom will bang their head solemnly to The Pale Temple And Others. 8/10

Half Me - Opium (Arising Empire) [Matt Bladen]

German metalcore five piece formed Half Me in 2018 after their previous bands imploded. Chris and Silvian play guitar as Max and Tobias take drums and bass, Chris (another one) is the vocalist. Following on from their debut album Soma, they have been riding the wave of popularity since then.

Opium is an EP to keep that momentum going, blending 90's Metalcore and Nu-Metal sounds with modern production and a fistful of rage, it's a five song, fifteen minute breakdown of heavy riffs and screamed vocals. Your enjoyment of the album is very much defined by if you like the genre as it never stays too far from the hardcore/metalcore theme.

Keeping their name and their music relevant with new material Half Me hit the highs with Opium. 7/10

A View From The Back Of The Room: Monster Magnet (Live Review By Debby Myatt & Tony Gaskin)

Monster Magnet & Margarita Witch Cult, KK’s Steel Mill - 24.09.24

There is something primeval and immortal about Monster Magnet (10). They seem to have been around forever, but only very occasionally do they reveal themselves. Tonight saw the opening night of their latest visitation to these shores and anticipation was running high.

So it was that the young trio of doomsters from just down the road, walked out to an already packed room. This didn’t faze Margarita Witch Cult (9) one little bit down as the Brummies drew on all that heavy metal heritage and exploded into the first track, Arcadia. The opening buzzsaw riffs set the tone. This was pure, stoner doom sludginess that was heavy but groove laden. Most of the set was made up from songs taken off their 2023 self-titled release, with the highlights being Lord Of The Flies and The Witchfinder Comes, but the big surprise of the night was the excellent cover of the 80s Billy Idol pop hit White Wedding, yes a doom version, but it worked! Big grin engaged!

The atmosphere after that had only got more intense with anticipation. There was a perceptible buzz filling the cavernous space of the old Star Works factory, the dry ice machine was working overtime (much to Tony’s and the other photographers dismay!)

A high bar stool was placed front and centre next to a keyboard/sequencer, only adding to the tension. There had been speculation about Wyndorff’s health. We were about to find out. The band made their way onto stage, with Wyndorff gingerly making his way to the stool. Without a word, they dove into the cataclysmic epicness of Dopes To Infinity and all doubt was gone. Although half standing, half seated with his leg resting on the monitor, Wyndorff still struck an imposing stance. The Space Lord had landed and he was here to blow your mind! With his usual dark humour, he proceeded to explain his predicament. “I had a triple vaccine shot before flying out, and it’s fucked up my body!” With a wry smile “I can either sit down and be good, or stand and be shit” to which the crowd cheer and applaud.

Thankfully, he stayed seated and wasn’t shit! With his SG slung low and the keyboard being manipulated to give us those signature space rock psychedelic vibes, the rest of the band helped smash out a dark atmospheric set that was one for the connoisseurs. Following up Dopes with the headbanging goodness of Tractor they treated us to some classic Monster Magnet from the past 35 years. A set that swung from heavy riffness to pure space rock tripiness, Ego, The Living Planet, Zodiac, Bummer and the 15 minutes of pure indulgence that is Spine Of God were standouts. 

As Wyndorf hobbled off stage, there was uncertainty whether there would be an encore, but after a short interval, the band made their way back and started slowly, quietly playing the unmistakable chords of Space Lord, Wyndorff came back on his eyes full of light and energy and we all got to sing along to their unofficial anthem “Space Lord Mutha………” to finally blow our minds. I’m not sure of the set time, but however long it was, it was glorious. Hopefully Wyndorff (who will be 68 at the end of October!) will get healthy again and we’ll get chance to go power trippin’ with him once again.

Reviews: Bewitcher, Amethyst, Mirror Queen, Broken Jaw (Reviews By Mark Young, Rick Eaglestone, Rich Piva & James Jackson)

Bewitcher - Spell Shock (Century Media Records) [Mark Young]

If there is a tag line or opening statement that will pique your interest it is this:

HEAVY METAL AT THE SPEED OF SATAN (with thanks to Bandcamp).

So, I’m hoping that this is true, and they don’t let me down.

I think Satan has lost a step.

Sorry, I was expecting BPMs off the charts, unintelligible vocals that sort of thing. I wasn’t expecting a sort of black metal Iron Maiden. Starfire Maelstrom is our starting point, and you know it kicks along at a decent rate with a nifty melodic hook that carries the song for most of its length. Once they enter the final third they drop anchor just off the island of energetic lead break, with a cracking sub-rhythm to it and straight onto Lavish Desecration, which follows that same approach of speedy rock riffs, which has one eye on being able to make room for the absolutely necessary solo that this music HAS to have. 

That approach I’m sure is going to continue right to the end and you know what, I like it. I like that they putting songs together that allow for some lead guitar magic because, why not? Especially if they work well like these. Spell Shock dials in the classic rock and gives it a kick, mixing that black metal in like a master craftsman. Knowing that this is the kind of music they write, allows you to soak in it and just love it for what it is. Its Simple, uncomplicated rock similar to Motorhead. This is what you are getting. If you like it that’s great. If not, bye.

This attitude just drips from it, from the immediate blast of Seasons Of Foul Harvest that charges along at that classic rock pace with a rock steady arrangement and a wicked break that is pure 70s gold to The Harem Conspiracy that keeps the blackened rock coming along nicely to Ride Of The Iron Fox with it’s drums kicking it into high gear. That Iron Maiden theme is there and its surprising that more groups don’t revisit them. I am not suggesting in any way that they have taken any riffs directly, its more that they have pinpointed what makes an exciting and engaging song and just ran with it. Ride Of The Iron Fox has one of ‘those’ solo’s and just gives the song that boost, and we are done.

I said at the start I hope they don’t let me down; well, I think it is a big statement that they nearly make good on. Make no mistake this is a fun album, one that knows exactly what it wants to do and does that incredibly well. It’s a grand melding of black metal and classic rock delivered at a decent rate. I don’t quite pick up on speed metal within it, but so what. It is not trying to change the world; it just wants you to switch off and enjoy 40 odd minutes of metal and come out of it smiling. And there is nothing wrong with that. 7/10

Amethyst – Throw Down The Gauntlet (No Remorse) [Rick Eaglestone]

Formed in the midst of a plague Swiss heavy metallers Amethyst constructed eight more of unbridled passion for debut album Throw Down The Gauntlet.

Opener Embers On The Loose feels like I have put on Iron Maiden’s debut as its flooded with soundscapes of 80’s metal which is delivered with strong purpose and certainly highlights the bands Influences, its also got some amazing solos and added feel good factor elements, this then rolls into more of a classic rock feel for Stand Up And Fight. Dominant basslines, and gallops are on full display for highlight track Won’t Do It Again which is complimented with Running Out Of Time which has a great narrative and anthemic tones.

Amethyst have really captured the essence of an earlier time, and this album feels like a forgotten classic rather than something that was completed recently, a true testament to this is Rock Knights which I envisage being a radio and live favourite. Moving to Queen Of A Thousand Burning Hearts brings with it a real fist pumping dynamic, the rolling drums are a particular highlight and honestly, the more I listen to this album the more soundscapes come to the forefront. There is also a spoken word part that really adds to the track.

If there is one track in particular that really pieces this album together and had to picked as a recommendation to listen to the album is would absolutely be Take Me Away which flows into the final track Serenade (Under The Rising Moon) effortlessly making for an overall fresh slice of nostalgia

An absolute tidal wave of classic heavy metal. 7/10

Mirror Queen - Dying Days (Tee Pee Records) [Rich Piva]

NYC’s Mirror Queen are back, and this is very exciting given how much I loved their last one, Inviolate, from 2022. For those who are not aware and to give a comparison, the band mentions Blue Oyster Cult, UFO, Camel, Wishbone Ash and Iron Maiden in their bio, so yeah, you know this band kicks ass, and they continue said kicking on their new record, Dying Days. 

Anything on Tee Pee Records is pretty much an automatic buy, and given that MQ main man Kenny Kreisor is also the main man of Tee Pee, it is safe to assume that this one is going to be killer. I was not disappointed, as Dying Days continues the awesomeness the band has been bringing, leveraging 70s US hard rock and proto metal and blending it with NWOBHM influences creating seven more outstanding tracks to add to their already great discography.

The thing that really stands out for me on Mirror Queen is the guitar work of Kreisor. He totally rips it up on here, the title track and opener being a perfect example, with that solo in the second half when the pace picks up. Great stuff. I believe Morgan McDaniel is still the second guitarist, and if so the chemistry of the dual playing has taken another step forward, producing a nice Maiden feel to their work. Cityside has a cool little riff and moves more towards the BOC territory, once again highlighted by that axe work and almost a bit of a psych element to it. 

The instrumentation on Scapa Flow is top notch, who needs words when you can play guitar like that. I love the trip back to 1978 that Closing The Gap is, as some of the band’s prog leanings show through on this one. Same with the also excellent Far Flung that has some very cool tempo changes. My favourite track is the also very BOC This Is My Song, that has a cool riff and highlights the work of the rhythm section while also including the best vocal performance on the record. This one also reminds me off something off the also very 70s inspired album by Australian rockers Butterfly, Doorways Of Time. Oh, and that solo just rips. Strider closes as we opened, with killer dual guitars and more of that NWOBHM meets BOC goodness that Mirror Queen has perfected.

Mirror Queen can play, have the songs, and all the right influences to create killer stuff. Dying Days is just that: killer. The guitar work shines and is the highlight, but this record is excellent from the first note until the last. 8/10

Broken Jaw - No One Cares (Self Released) [James Jackson]

In case the album title didn’t give it away, the first 44 seconds of the title track leave no doubt that No One Cares, just for good measure the chorus hammers it home; Broken Jaw are a Gloucestershire based band whose genre description pegs than at punk metal, certainly the anarchic Punk leanings towards political and social issues, whilst at times being exceptionally tongue in cheek, are evident within the lyrics, spewed in a very metalcore fashion, far more metal than punk in that regard.

Clean tones are mixed with growls, the emphasis of which forces home the more sensible and poignant lyrics; I say sensible because the third track in, Pineapple Pizza, takes a rather comical approach but ultimately is a track about personal preference and the right to choose, it’s a frenetic slab of blast beats, those clean/growled vocals and heavy but groove driven riffs.

 
The album follows this pattern, blasting beats, heavy hard hitting riffs accompanied by politically acerbic lyrics and if I could make out more than just swearing and the words of the title, One Ply Bogroll, then it too would be as much a social commentary as anything before it. Serpents Lair has an a great riff that reminds me hugely of Cannibal Corpse.

No One Cares is heavy, fast and brutal at times, but without becoming stagnant which I’ve always found to be a turn off, Broken Jaw embrace a tempo change, allow a riff to flow with groove rather than balls out ferocity which affords the album a sense of maturity, amidst the chicken nuggets and toilet roll. 6/10