Reviews: Dischordia, I Am The Night, OU, Row Of Ashes (Reviews By Zach Scott, Paul Scoble, Matt Bladen & Richard Oliver)

Dischordia - Triptych (Transcending Obscurity Records) [Zach Scott]

Dissonant death metal is not a genre for the faint-eared. An oppressive and abrasive subgenre, born out of an unholy fusion of old school death metal, black metal, grindcore, mathcore, and doom metal, dissodeath is always an intense listen. And Triptych, the new offering from Transcending Obscurity Records’ new signing Dischordia, is no different. Raw, dark, violent, and progressive, this album is a sprawling exploration into the possibilities of death metal. 

The first thing to point out is the stellar production on this record; Colin Marston, who has sat at the board for similar bands such as Gorguts and Replicant, struck a fine balance between rawness and clarity on Triptych. Every instrument and sample is clear and in your face, yet remains abrasive and rough – a difficult balance to strike at the best of times, no less when dealing with such complex music. His mixing and mastering fits the feel of the album perfectly, and there is no doubt that the band chose the right man for the job. A triptych is a painting split into three sections, and both the album art (an excellent portrayal of the album’s contents by Gianni Martucci-Fink) and song layout reflect this. 

The songs are divided into three movements, each comprising of three songs: The Observer, The Carriage, and The Escape. There is little to distinguish these movements in terms of the musical content; it is more of a thematic and lyrical separation. The music itself, as is typical of the style, largely disregards standard time signatures, harmony, and tonality. As a result, it is complex and cacophonous, but still able to maintain a level of sonic and technical precision which clearly showcases the musicians’ skill – especially the dizzying lead guitar work of Keeno (the solo in La Petite Mort is ripping, and it’s a shame there weren’t more) and classic DiGiorgio-esque tech death fretless bass work by Josh Turner (especially the unusual melodic bass line in Panopticon). Most interestingly, there is very clear homage to the unique progressive rock of Jethro Tull, with the idiosyncratic flute-led interludes in Bodies Of Ash and The Carriage. Acoustic or clean interludes are commonplace throughout the album, serving as respite from the sonic carnage; however, they do feel almost shoehorned in sometimes and not written with quite as much thought as the rest of the music. 

For example, the acoustic interlude in Spirits Of Dirt goes too long without anything of particular interest happening, and the overabundance of these odd interludes, while interesting, make the songs slightly more predictable than they otherwise would be. Another interesting influence the albums demonstrates is that of deathcore – often maligned by those within technical death metal, it is unusual to hear direct influences from the style. However, there are several instances of breakdowns very reminiscent of early deathcore, such as the end sections of of the Carriage and La Petite Mort, respectively. 

These relatively simple and skull-crackingly heavy sections contrast very well with the rest of the music; the sparse use of 4/4 (or standard time) in general makes for some devastatingly heavy passages, while not detracting from the overall chaos of the songs. One issue with this album is there are several ideas which feel as if they could’ve been expanded on to greater effect – one example is the almost triumphant choir synths at the final passage of the entire album in La Petite Mort. While it is true that using this idea extensively would have taken away from the impact of the album’s epic close, slight suggestions of the choral idea would serve to both enrich the music and further the idea of the album being a cohesive concept. 

The idea of Triptych, in terms of its division into three movements, is interesting but, again, could’ve been taken further in terms of making each movement musically distinct and connected, ie the three songs of each movement could be musically similar to each other, and distinct from the other movements. That is, of course, a very difficult feat to achieve without the music being boring and repetitive; but it is doubtless that the skilful songwriters of Dischordia could pull it off. Overall, the album is an excellent and epic work of dissodeath, and was executed masterfully. There is no doubt that, in future, the band can take their songwriting and technical ability to even greater heights, or as some might say, depths. 9/10

I Am The Night - While The Gods Are Sleeping (Svart Records) [Paul Scoble]

I Am The Night are a four piece based in Finland. The band, who are made up of current and ex members of Insomnium, Omnium Gatherum, Paradise Lost and Vallenfyre amongst quite a few other bands, have released one single last year with Hear Me O’Unmaker; While The Gods Are Sleeping is the bands first album. I Am The Night is Janne Markkanen on bass, Waltteri Väyrynen on drums, Markus Vanhala on guitar and keyboards and Okko Solanterä on vocals. Musically I Am The Night play a very melodic form of Black Metal rooted in the 1990's, specifically in Telemark, Norway in the 1990's; as I Am The Night are clearly very influenced by Emperor. While The Gods Are Sleeping could be seen as an homage to the best band to come out of second wave Black Metal, Emperor. 

Everything on this album screams Emperor, the songwriting, production, instrument sounds, all has that Emperor Feel; this influence is so clearly being worn on the bands sleeve, it seems ridiculous not to mention it strait away. A number of bands have taken this approach of taking Emperor’s style and using it as a sub-genre (I once reviewed an album by a band who played ‘Emperial’ Black Metal), usually this involves fairly blatant stealing of complete sections of Emperor’s songs in a way that is less Homage and more copyright fraud. However, I’m pleased to say that I Am The Night, are not talentless plagiarists, this is a true homage. Everything on this album is very well done, it’s no surprise that this is a band made up of experienced musicians. The production is perfect, the mixing is stunning throughout, the guitar, bass and keyboard sounds are perfect, the keyboards in particular are identical to Emperor. 

This sound is then used on songs that have the spirit and feel of Emperor, but without stealing anything directly. So, every song has a feel that is recognisable, but without anything specific being copied. So Hear Me O’Unmaker has an In The Wordless Chamber feel at the beginning, but is closer to I Am The Black Wizards by the final quarter. The Owl is very similar to material from In The Nightside Eclipse, in particular Towards The Pantheon. The blasting fast, energy packed track Dawnbearer, has more than nod towards Ye Entrancemperium. The fact that this is done so well does allow the band to sidestep any kind of plagiarism accusation. It also helps that the band have added some elements that aren’t Emperor themed. The tracks Ode To The Nightsky (Feels like Curse You All Men) and Among The Unseen Ones feature some very pleasing chanting, that has a mellow smooth feel to them, it’s maybe a little reminiscent of some vocalisations used on more recent Enslaved material. 

While The Gods Are Sleeping is a great album. It’s clearly an album that celebrates the members love of Second Wave Black Metal, and Emperor in particular. It’s been done so well that over the last few days when I’ve been listening to it, it makes me feel like I’ve got a new Emperor album. The sound is so well reproduced, and the songs are so well written, it’s tricked me into thinking Ihshan, Samoth and Trym have released a new album. I’ve really missed new Emperor albums since Ihsahn decided to take a more progressive direction, it was nice to feel as if a new album was out for a few days. Highly enjoyable, if not groundbreaking album. 8/10

OU - One (InsideOut Records) [Matt Bladen]

I'm not quite sure what I think about this record. Not the best way to start a review, where I'm supposed to give a decision and an opinion but I don't really know how I feel about it. One is the debut album from progressive metal band OU (pronounced O), the band was formed by in demand American drummer/songwriter Anthony Vanacore who is based in China. Much like with a lot of session players, they have a need to create their own music, so he has recruited fellow long time session men Jing Zhang (guitar) and Chris Cui (bass) to start writing the music that features on this record before gaining Lynn Wu on vocals. 

Musically they tap into the musical strangeness of Devin Townsend, Between The Buried And Me and even Tool, opener Travel 穿, getting us started with some heavy grooves, interlaced with plenty of electronic oddness, set against this are the ethereal, often shrieking vocals of Lynn who brings touches of The Gathering, Kate Bush and Bjork with her dynamic, soaring vocal style. It's a strong way to start laying down what OU are all about choosing to play a very progressive style of music, but choosing to perform the lyrics in Chinese. Farewell 夔 floats along breezily in the style of some classic prog, as Mountain 山 brings some off time rhythms, it's all musically impressive though for me the mixing means that you are almost bludgeoned by the vocals, leaving the instrumentals feeling a little weak, the drum sound is especially strange. 

After the interlude of Ghost 灵 which features some nods to traditional Chinese music, it's on Euphoria 兴 where the full progressive tendency of OU is realised, almost like trip-hop version of Yes, filtered through Radiohead, it's the weirdest song on the record by a margin but does mean the record drags a little until the riff-laden Dark 暗. I understand that they are trying to make music without boundaries but for me One has a case of too many cooks, they really need to knuckle down on trying to make their music a little more cohesive, perhaps longer songs with experimental passages within them. As I said there is a lot to like here, but I think it just feels a little bit like a studio experiment to me. 6/10  

Row Of Ashes - Bleaching Heat (Surviving Sounds) [Richard Oliver]

Bleaching Heat is the new album from London noise sludge trio Row Of Ashes. Drawing from the frustration and anger of events of the past two years, Bleaching Heat is a relentless and uncompromising record. Mixing elements of sludge metal, noise and hardcore, Row Of Ashes create a nightmarish soundscape with crushing downtuned guitars and a wall of thick bass, discordant noisescapes and the hardcore bark of frontman Chris Wilson.

Songs such as Worcester Man, Jerk and The Next Away are face ripping bouts of sheer aggression and frustration and truly sound and feel like the band exorcising their inner demons though the most effective for me were songs such as The Wreck And The Mill and Contraband which mixes atmospheric and introspective sections with the face breaking aggression witnessed on other songs. It is these more peaceful moments which make the explosions of anger and aggression all the more effective. Album closer In Summation has a post-rock vastness to it alongside some massive thick riffs that make it a suitably epic yet crushing finale to Bleaching Heat.

I’m not much of a fan of noise and hardcore and can be quite picky about the sludge bands I listen to but Bleaching Heat ended up being quite a decent record. The discordant nature of it doesn’t really appeal but the atmospheric and quieter moments took me by surprise and there are moments of pure sludgy denseness which will bring a smile to the face of anyone who is drawn to filthy disgusting music. Row Of Ashes didn’t wow me with this album but this is still very listenable stuff. 6/10

Reviews: Pure Reason Revolution, Fozzy, Märvel, Lionsoul (Reviews: Matt Bladen, Rich P, David Karpel & Simon Black)

Pure Reason Revolution - Above Cirrus (Inside Out Music) [Matt Bladen]

No this is what I like to see! After many years with no Pure Reason Revolution albums, two are released within two years of each other. Above Cirrus follows 2020's incredible Eupnea with yet more PRR goodness as classic prog is thrown into a pot with art rock, intelligent pop and lots of electronics. The core duo of Jon Courtney (vocals/guitars/keys) and Chloë Alper (vocals/bass/keys) are joined once again Greg Jong (guitar/vocals) who hasn't played with the band since their debut EP in 2005. Unlike Eupnea which tried to reconnect with the bands prog roots, Above Cirrus returns more to the bands hybrid style of driving heavy riffs, thumping electronics and those excellent vocal harmonies, fans will have come to expect. 

The album isn't conceptual like the previous offering but it still deals with quite personal topics, possibly more so than on any other record. It's centered around relationships how we can all be loving one minute and hateful the next and how pressures like restrictions, the pandemic, and worry all affect our relationships, it's also drawn from Courtney's daughter being born premature during the pandemic and the fear that caused. This shift between light/dark is explored with the searing New Kind Of Evil which has a darkness to it that comes from being part Muse, part Porcupine Tree, distorted guitars cut through with fuzzing synths as Courtney's vocals repeat the chorus with conviction. 

Along with opener Our Prism these are certainly the rockiest tracks on the record, getting the mood established that the conceptual prog of the previous record has become much more direct but also more reflective. Cruel Deliverance welcomes us into a hazy dreamworld, building the layered vocals on the atmospheric synths, as it creeps into the final part where the riffs are once again distorted, Phantoms is drenched in percussive EDM, while Scream Sideways brings combination of sounds trip-hop, Tool, dubstep and jazz (much like Haken). Making both of them ready for all of the awkward dancing that runs riot through a PRR concert, something they have been waiting to do for two years now. 

These two heavily synth fuelled tracks (though there's still lots of distorted guitars) signal the transition to the lush soundscapes of the pulsating Dead Butterfly which pairs foreboding elements with ethereal vocals. As the impressive Lucid closes this album, as if purging the demons that have come before, embracing the chaos and confusion with acceptance. Of course this is all about the way it's interpreted, but what is apparent is that Pure Reason Revolution have undergone a myriad of emotional torrents in the creation of this album, all of which are reflected in the complex, potent and exceptional album. 9/10

Fozzy - Boombox (Mascot Records) [Rich P]

Full disclosure: I am a huge wrestling fan and a huge Chris Jericho fan dating back decades. But even with my love for the Ayatollah Of Rock N Rolla I never really spent any time with his band, Fozzy. At first, I thought it was more of a joke side project but even after a bunch of albums in I still never found any of what I heard interesting enough to take them as a serious rock band. Granted his theme song in AEW, Judas, is an absolute ripper, but even with that I have never really dove into the discography, choosing to separate my wrestling fandom from my music world. Until now, where my next assignment is Fozzy’s eighth full length album, Boombox. Let’s see if his work on the mic musically keeps me as interested as his top-notch promo work I have loved over the years in the ring.

On Boombox Fozzy continue to be that arena rock band they think they are, and they do not venture too far away from that formula. It is an extremely slick and radio ready produced album and the first track, Sane is the perfect microcosm for the entire twelve tracks. Jericho’s voice sounds great, but he has obviously had some technological help there (no judging, just saying). The guitar work on the record is top notch, and his band sounds super tight, but there is really nothing that pops for me or that is unique to what you would hear on heavy rotation on your local rock station. 

I Still Burn could be any of those bands that I don’t know the names of but hear in passing. I almost think Fozzy has become too serious, which is why the cover of Frankie Goes to Hollywood’s Relax is a highlight of the album for me. It's a mostly straight ahead cover but it has the fun aspect that Boombox seems to be missing. Sure, there are bunch of rock anthems on here, but none that I am going to sing along to any time soon.

I usually will do a bit more in depth on the tracks, but honestly none really stuck out for me enough to comment on. Sure, these are well played and well-constructed (probably in a lab) tracks that make up Boombox, but there is no new ground covered and nothing that makes me want to go back to this to keep it in rotation. If you like the recent Fozzy material you will dig this and if you enjoy very slick produced heavy radio rock, you will dig this too. But there is no new ground covered and barely a smile cracked on Boombox, and that would have really helped here. 5/10

Märvel - Grace Comes With Malice (The Sign Records) [David Karpel]

Blasting out of a sweaty Swedish garage comes Märvel, 20 years into their career and sounding as electrified as ever. While they cover the similar 70s rock rooted jukebox as Askvader and The Hellacopters, they do so with a lot of practiced flash and panache. Graces Come With Malice is their 9th studio album. The King (guitar, vocals), The Burgher (bass), and The Vicar (drums) wear costumes with masks and load every one of these 10 tunes with bittersweet ironies, tongue-in-cheek imagery, and saccharine harmonies that go well with the caffeinated pace of most of the record. 

References are here aplenty: the sonic cheekiness of Kiss, the lightning licks of Thin Lizzy, the cloying pop sensibilities of Cheap Trick, and even some ZZ Top Texas boogie in A Hot Nite In Dallas. Their take on these roots is their own. So much so that even with all of those great influences showing up in their sound, it’s Märvel’s ubiquitous use of harmonies, ridiculously catchy melodies, and fun, guitar-slinging, power trio vibes that keep me coming back to this album and ultimately adding songs like Slasher With A Broken Heart, Great Man, and Sorry State Of Affairs to my driving music playlist, which is often my cooking playlist as well: energized, sing-along songs with which to soundtrack good times.

Where Märvel succeeds the most here is that while they are rooted in the great rock sounds we first heard on AM radio and later on 8-track K-Tel rock compilations, Graces Come With Malice never sounds nostalgic. Their performances feel fresh. The album is alive with energy. The King has solid vocal chops, and when his guitar playing calls attention to itself, there's a good reason for it. The Burgher doesn’t hold back, playing bass lines that lace the harmonies and swing under guitar solos like a safety net. 

Holding it down, The Vicar’s sense of pace and power and whatever keeps them balanced helps keep things dangerous. Together, these Swedes are a tight band who write great, memorable rock and roll songs and bang the hell out of them. 8/10

Lionsoul - A Pledge To Darkness (Rockshots Records) [Simon Black]

This is a frustrating album for a whole bunch of reasons. After three listens I am still struggling to know what to make of it… 

First off the basics. The band hail from Italy and are a five piece with power metal roots, but mercifully sound nothing like the usual flavour of the genre that Italy produces (Rhapsody et al), with this being their third full length album. That’s in their favour, as it at least means they are different, but sadly they are far from distinctive, at least on this release. Content wise we are dealing with a conceptual piece of futuristic intentions, but again after three listens I still couldn’t tell you hand on heart what it was actually about. Secondly let’s talk about style. Although clearly having Power roots, the stylistics in the mix are highly eclectic, bouncing from power, to synthwave, melo metal, 80’s hard rock and even bits of thrash on occasion. Variety may be the spice of life, but here it makes for muddied waters. 

Thirdly we have some real production issues unfortunately. I suspect some wise soul was trying to recreate the kind of feel many 80’s records had, but misses out on two important details. Those recordings were often the product of musicians working with archaic equipment being pushed to its boundaries with engineers who didn’t ‘get’ the sound of a metal band. When you try and recreate that feel using digital standards, it frequently falls flat unless the actual recording process apes the urgency with which older material was laid down. In addition, most bands still in the game have all long since gone back and remastered and remixed these things numerous times, because frankly if you do go back to the old vinyl from then, it does not stand the test of time. This is why the trend of retro soundalike bugs the hell out of old farts like me.

The net effect is that way too much treble and reverb have been added in, both to individual instruments and the overall down mix, making it really hard to distinguish between the players unless they go all hard rock and hold back, let one player restart and layer it all back in one instrument at a time. At that point it becomes clear how good the playing on here actually is, but the rest of the time it’s all lost in a swirling maelstrom of bad mixing. The press release talks about its futuristic thematics, but the mix just sounds so cheesy that it feels like the aural equivalent of an early 1980’s British Sci-Fi show where staff directors thought to make things futuristic, all you needed was to dress the female members of the cast in silver lamé leggings.

Which is a shame, as some of the performances in here are fantastic, with some spot on arrangements, lovely lead and drum work and an absolutely enthralling performance from vocalist Ivan Castelli (who also has to take some of the blame for the production). It’s like going to a gig where the man on the desk has no clue about metal, but the vocalist saves the day by grabbing the audience by its throat. I want to be more generous, but the production really kills the vibe which is a shame, because there’s a lot in here worth listening to. 6/10

Metal To The Masses 2022 Interviews: Fighting With Giants (Heat #4 06.05.22)

Interview With Fighting With Giants By Matt Bladen

MoM: Introduce yourselves/remind everyone who you guys are. Band name, members, style etc?

Fighting With Giants: John, Paul, George and Ringo

MoM: How have the last year(s) been for the band? What have you been up too?

Fighting With Giants: Awesome. Travelling and gigging in front of huge sell out crowds of vaccination queues.

MoM: What experience have you had with Bloodstock/M2TM in the past?

Fighting With Giants: None. We don't work for the NHS. Please give blood, save lives

MoM: How are you feeling entering the M2TM format back as it should be? Playing in front of a crowd again?

Fighting With Giants: We rarely play in front of crowds because our drummer is terrified of people.

MoM: What would it mean to you to play Bloodstock?

Fighting With Giants: We've never played at a blood drive before. Give blood, save lives.

MoM: Tell us two truths and a lie about the band?

Fighting With Giants: We're all alcoholics, we're all alcoholics, this is the biggest gig of our lives.

MoM: Finally give us a four word rundown of what to expect?

Fighting With Giants: Late, drunk, unrehearsed, miracles.

Review: Wo Fat, Tómarúm, Ufomammut, Sicksense (Reviews By Rich P & Matt Bladen)

Wo Fat - The Singularity (Ripple Music) [Rich P]

Wo Fat rule. I know that is not the most subjective way of starting out a review of their new album, The Singularity, but it is fact. Up to this point the have put together an almost perfect discography and a cult following within the heavy rock genre that generates all sorts of rabid fandom for the band from Dallas, Texas. Now, when you are so highly regarded, how do you continue to top what is already considered a masterpiece of a discography? How about putting out the seven amazing tracks found on their seventh full length, released by the mighty Ripple Music. Honestly whatever I write here will not do this album justice but let’s start with how it sounds. 

The production is perfect. Wo Fat has never sounded better, and the addition of more instrumentation (more bongos! Rhodes piano!) make their already amazing sound rip even more. All of this comes together perfectly on the track Overworlder, which I will stack against any previous Wo Fat track in their back catalog. The groove, the guitar work, the solo, the instrumentation, it’s all adding up to the perfect heavy blues/stoner rock track. Yes, it is twelve minutes long, but tell me that it doesn’t seem like five. There is nothing over bloated on The Singularity, even with the shortest of the seven tracks being just under eight minutes and three of the tracks in the double digits. The track The Unraveling is packed full of riffs and the up-tempo rocker just rips. I even find myself singing parts to myself (“suspicions confirm, it’s a fatal error” is both catchy and can be used routinely throughout my day). 

The Witching Chamber is a prototypical Wo Fat track in all the best ways: the riffs, the heavy groove, the ripping solo. All you would ask for and get from Wo Fat. The title track offers multiple tempo changes and more of those killer riffs to knock your head clean off. The closer, The Oracle, is seventeen minutes of absolute heavy blues rock jamming that will blow you away and is a perfect closer. These are just a few of the highlights. My words on a track-by-track review would not do this justice. Please get your hands on this to find out for yourself. The Singularity is a top tier band at their peak, which is something to behold. 

Wo Fat have released an absolute classic that will rank on top of their already amazing catalog. You may hear a gripe that it is too long, but there is nothing about this record that should have been edited or removed. Fans of the band could not ask for a more perfect release, and everyone who enjoys any kind of heavy music should immediately check this out. Album of the year front runner and absolute modern classic. 10/10

Tómarúm - Ash In Realms Of Stone Icons (Prosthetic Records) [Matt Bladen]

The Icelandic metal scene is something that is small but almost perfectly formed, much of it comes in the form of atmospheric extreme metal that draws heavily from the frozen vistas and the countries seemingly endless ennui. The Icelandic word Tómarúm translates to "empty space", and nails that beautiful fusion of melancholic soundscapes and fierce, progressive extreme metal. However Tómarúm do not hail from the frozen realm of Iceland, they are actually an American duo from Atlanta Georgia. Surprise!

Comprised of Kyle Walburn who gives guitars/vocals/programming and Brandon Iacovella who has guitars/vocals/contrabass, they are the core songwriting/performing duo for all of Tómarúm's music and they have already released one previous EP that established them as a band who need to be taken seriously in their talent. For the studio sessions on this album they tapped Spencer Moore of Inferni to get behind the kit and proceed to destroy it, as for the bass the twosome brought in Arran McSporran from Virvum playing lots of fretless bass, that is one of the main sonic elements on this record, the fretless bass playing reminiscent of the band Death as it features heavily on the title track and on In This Empty Space where there's even a bass solo.

There's a balancing act on this debut album that swaps between feeling mechanical and organic, the songs shifting through this record's hour long run time, combining a multitude of styles for a diverse recording. Though nearly all of the tracks feature some mind blowing solos, Where No Warmth Is Found coming in high on the list of the best six string bending, more effective also when put to the emotional synth and piano that is so present on the song. Ash In Realms Of Stone Icons is a record born of the need to "explore the mental void left by extreme emotional pain" continuing the bands' previous releases that deal with depression and loss. 

Now to try and nail down their musical style is difficult as there's a dense musical palette that brings together scorching technical death metal (In This Empty Space), volatile black metal (Condemned To A Life Of Grief) and those more vibrant, emotive atmospheres used to great effect on the intro/interlude Introspection I & II and the wonderful 16 minute final song Into Eternal Slumber where there's plenty of lush strings and deft acoustics, as well as virtuosic playing and a cathartic final few moments that close this magnificent album. 

I've mentioned sequencing in lots of reviews before, but here the record really benefits from the way it's sequenced, as the tracks were written in the order they appear here, meaning there's a continuity and flow to this musical journey as each song brings an extra element with every song building up to that epic climax. For a debut full length, Ash In Realms Of Stone Icons is absolutely astounding, a blackened technical death metal masterpiece. I'll urge anyone I can to listen to this record. 9/10     

Ufomammut - Fenice (Neurot Recordings) [Rich P]

Ufomammut are back for their ninth album of doomy psych sludgy goodness with Fenice. The Italian trio sound as strong as ever, but now incorporating even more synths and effects to take the psych leanings that they have always had to the next level, uplifting their already epic jams. The heavy is still there, but you also get the sense the band got in a room and just played, and this is what came out. The sense of improvisation throughout makes Fenice an even more interesting and exciting release in their already excellent catalog. 

Fenice opens with the instrumental jam Duat, which bring exactly what you expect to start this journey: stoner/psych jams with amazing instrumentation and those synths I called out earlier. The prominence of the synths adds another layer to Ufomammut’s trademark sound and works perfectly with the tracks on Fenice. Kepherer is a three-minute drone bridge that leads to the highlight of the album, Psychostasia. This seven-minute psych out is exactly what you want from these guys. A spacy, slow burn that will be on my song of the year list. You get vocals for the first time three tracks in, and they fit perfectly into this spaced-out jam and that holds your hand until about the five-minute mark where the sludgy crunch appears and rips your head off. 

 This leads us into Metamorphoenix, a synth forward seven-minute (in my opinion) Interlude, which does drag a bit but acts as a nice bridge to Pyramind, which is another stand out track on the record. I read that Fenice was originally going to be one long song, but I like the decision to break it up into individual tracks, but you can still get that one long composition experience from start to finish. Pyramind is the heaviest of tracks; a lumbering sludge fest that drags you through the mud on the way to your next-level consciousness. Empyros closes us with three minutes of sludgy goodness and ends the trip on a high and heavy note.

Fenice is a journey. It works well as a thirty-eight-minute piece or as stand-alone tracks. The synth forward approach works with Ufomammut’s style and is a welcomed addition to what the trio brings to the table. While it may drag a bit in the middle, the effort is worth it. Fenice is another strong addition to the already excellent Ufomammut discography. 8/10

Sicksense - Kings Today (Self Released) [Matt Bladen]

There seems to be a revival of Nu-Metal lately, many bands have fully re-embraced that mix of driving grooves and rap vocals. Now many of us lived through the initial Nu-Metal scene, for better or worse. It burned very brightly as a scene but many of of the acts that were huge at that time seemed to fade away a little. However recently there has been a re-insurgence so I guess there's nothing like nostalgia, as Nu-Metal certainly seems to be starting to burn bright again. 

One of the big bands from that era are Stuck Mojo and their vocalist Robby J. Fonts brings his slick rapping to new band Sicksense. He's one of the two singers here, the other being his wife Vicky Psarakis of The Agonist, both also add harsh screams and Vicky goes soars with some cleans. It makes for an interesting listen, as the songs are written especially for the interplay between the two of them. Adding guitarist Breakdown Bran (Bran Panic), drummer The Trve Cody Taylor (Cody Taylor) and bassist Spot-On Sam/SOS (Samuel Bedard), to the band this EP features 5 tracks that blend the low heavy grooves of Korn, with the rap of Limp Bizkit adding some Gothic touches of Evanescence and Lacuna Coil. 

The EP is very traditional to the Nu-Metal sound, the husband and wife team wanted to show a different side to what they normally do so there's a fun element to this record but also a serious one where that deals with societal issues. If you lived through Nu-Metal and enjoyed it then you'll get a kick out of this, if you avoided it at all costs, perhaps not so much. Not much else I can say really. 6/10

Metal To The Masses 2022 Interviews: Zac & The New Man (Heat #4 06.05.22)

Interview With Zac & The New Man By Matt Bladen

MoM: Introduce yourselves/remind everyone who you guys are. Band name, members, style etc?

Zac & The New Man: Hey everyone, we are Zac, Oli Poole, James Dye and Will Newman. Together we’re Zac and The New Men. We play blues infused Heavy Rock and we play it LOUD.

MoM: How have the last year(s) been for the band? What have you been up too?

Zac & The New Man: We formed just over a year ago during the Covid lockdowns which was a weird experience, writing and collaborating over Zoom. Our first gig was back in July and we’re loving being able to play to live audiences. On a positive note the lockdowns gave us time to write and record our music and we’ve released four tracks so far with the fifth Social Blur due out on May 13th.

MoM: What experience have you had with Bloodstock/M2TM in the past?

Zac & The New Man: We’re all only 17 and 18 so haven’t had a chance to enjoy a summer of festivals yet but you can be sure that the iconic Bloodstock is on our bucket list. Any festival that featured Motörhead, Alice Cooper, Saxon and hundreds of other iconic bands deserves our love and support.

MoM: How are you feeling entering the M2TM format back as it should be? Playing in front of a crowd again?

Zac & The New Man: We live for live performances it’s what we love. We’re so excited about playing M2TM and Fuel Rock club.

MoM: What would it mean to you to play Bloodstock?

Zac & The New Man: Wow, it would be a dream. It’s such a special festival. The bands that have played on those stages are true greats and to be able to say we were amongst them would be amazing so early in our careers.

MoM: Tell us two truths and a lie about the band?

Zac & The New Man:

1. We played over 25 pub gigs as a cover band last year.
2. Our Bass player James has perfect pitch
3. We record, mix and produce all our own music in our own studio.

MoM: Finally give us a four word rundown of what to expect?

Zac & The New Man: Loud High Energy Rock

Reviews: Tenebra, Crashdiet, Somali Yacht Club, Hellblind (Reviews By Rich P, Richard Oliver, David Karpel & Zach Scott)

Tenebra - Moongazer (New Heavy Sounds) [Rich P]

I cannot remember a time when there were so many excellent female-lead heavy rock bands out there putting out next-level quality material. Tenebra is no exception, but let’s not put them in a sub-genre; this Italian four piece kicks out some seriously heavy stoner rock jams that will stand up with much of what is put out there today no matter who is fronting the band.  On their second album, Moongazer, you get some more of the stoner rock that Tenebra delivered on their first full length while now consciously bringing in some of their 90s Seattle scene influences for an offering that stacks up against, but also differentiates, amongst their peers. 

Starting out a heavy rock album with the first track named Heavy Crusher is a ballsy move, especially if you don’t deliver. But right off the bat Tenebra smacks you in the face with the strong vocals from frontwoman Silvia and that groove you are looking for in a band like Tenebra. The soulful heaviness of Silvia’s vocals is on full display on the next track, Cracked Path. The stoner rock Laura Branigan perhaps? The band sounds great too; its raw, but not too raw. Proto sounding but not too proto sounding. Grunge influenced, but not in the way that most bands are. There is a careful balance and uniqueness to Tenebra that is on full display over the nine tracks on Moongazer. That voice, again, on the slow burner Black Lace puts Silvia out front right where she belongs, but the band brings some of the doom that we have been hearing so much out of Italy lately and highlights the playing of lead guitarist Emilio. 

Winds Of Change is another strong track that reminds me of something from the excellent Wytch record from last year (this is a major compliment). Space Child may be my favorite track on the record, bringing the strong proto metal and making sure we know they are not Sabbath rip offs with a cheeky nod to the masters of the genre and an interestingly placed saxophone freakout which startled me on first listen. The closer, Moon Maiden, brought out the 90s grunge influences and the psych side of Tenebra, literally, by bringing in Gary Lee Connor of the legendary Screaming Trees, to give his signature crunch and trippiness to this absolute ripper. Tenebra absolutely bring it with Moongazer. Vocally, musically, stylistically, and offering something just unique enough to stand out amongst the throngs of bands playing in these styles today. Great stuff that should be checked out as soon as possible. 8/10

Crashdïet - Automaton (Crusader Records) [Richard Oliver]

Crashdïet have been spearheading the glam metal revival since their formation in 2000 in Stockholm, Sweden.  A band that has overcome tragedy and adversity and released some absolutely shit kicking glammed up metal.  This continues with their sixth album Automaton which sees the band firing on all cylinders. 

The opening intro of the album harks back to the bands beginnings and samples the voice of former frontman Dave Leppard who tragically took his own life in 2006 following the release of the debut album Rest In Sleaze.  It’s a nice way of acknowledging his legacy and how he is still very much a presence in the band still to this day. This intro is followed by the first full song Together Whatever which gets the album to a blazing start full of thick riffs, big melodies and humongous hooks.  This continues with Shine On which is laden with pulsing synths whilst the galloping No Man’s Land is a pure fist pumping anthem. 

Dead Crusade ramps up the heaviness with its driving rhythm and heavy riffs whilst Powerline is a pure sleaze metal anthem with a chorus that will itself into your brain for weeks on end.  The album does lose a bit of steam towards the end closing on the obligatory ballad I Can’t Move On (Without You) but the sheer quality of the songs beforehand makes this misstep forgivable. The band are on absolute fire performance wise but special mention must go to frontman Gabriel Keyes with his phenomenal vocal performance and his second album fronting the band. 

Automaton doesn’t throw any surprises your way being another high quality Crashdïet album chock full of glam and sleaze metal anthems.  The songwriting is on form and the band is on fire. If you love that sleazy 80’s sound then this album comes highly recommended. 8/10

Somali Yacht Club - The Space (Season Of Mist) [David Karpel]

Let’s just start here: the promise of The Sea is not fulfilled in the boundlessness of The Space. As much as I may have expected from that promise the Ukrainian band Somali Yacht Club made in 2018, I could not have expected the level of growth and achievement evident here. We’ve moved beyond what could have been expected, what was promised by its excellent predecessor. This album is a triumph of confidence and wonder. The result is a collection of songs worthy of praise, perhaps even of genuflection, cultish dedication, and banners declaring the potential for AOTY. (And after many edits, I’m still not sure that’s an overstatement.) 

These tunes breathe into you, expand and collapse your sense of boundaries, and keep you following along with the song, demand your fullest attention, and open you up to unconstrained possibilities. No longer earthbound, Somali Yacht Club narrates personal perspectives shaped by this brilliant and awful age, guiding us ever inward and ever outward, echoes of reaching and returning, expanding and contracting, breathing underwater, breathing in space. Tunes are desert seared at the edges, doom glazed from afar, expansive, breathy, often stark, urgent, and shadowed, but they’re also full of passages awash in scuzzy lush shoegaze in the vein of HUM and the more psych elements of Swervedriver all slowed down with the knots brushed out. 

Clear vocals ride the light currents of a middle range. Headphones offer a fully saturated sound that expose, too, the emotively suspenseful use of the between notes, the spaces and pauses. Melodies stretch for light years. Riffs drench the soundscapes like starlight over a barren dwarf planet. We’re not landing there anyway. Sonically, we’re not landing at all. Lyrically, the personal becomes universal, and the band bends time with long emotional notes, giving that conversation, that relationship between band and listener, room in the music. In Silver, we’re floating in a liquid space “so cold I can’t describe,” but the main riff is warmth defined, so we’re left with a sense of having found comfort and even triumph in discomfort of feeling itself, which is better than being unable to feel at all. This is not comfortably numb. As out there as they take us, SYC grounds us in real emotions. The space in which we travel, then, is not just out there. It’s in here, too. Ever inward, ever outward. 

The nine minutes of Pulsar emphasize the idea, with lost love and a broken relationship providing the lyrical pain and confusion over slithery bass grooves and steady percussion. Just as the guitars reach for climax, they fall away for melodic vocals, a breakaway psychedelic jam. Melody returns to us only to venture into a dizzying repetition that again builds on driving chords, ethereal synths, and dynamic drumming. Obscurum is coated in fuzz and while here the shoegazer references are strong, so are the melodic pop instincts of ELO barely hidden under the space guitars and layered jams. Echo Of Direction, meanwhile, treads cavernous harmonics over a steady groove acting as a foundation to a mesmerizing exploration of chugging afterburner riffs. Everything then strips away, leaving the bass, keys, distant guitar notes, cymbal taps, until the kick drum starts up and we’re back on track, chugging onward, ethereal vocals reluctant, giving in to the loss of direction. 

Gold is the shortest song on the album, the last third of which turns into a gorgeously meandering melody. This is followed by the final and longest song, Momentum, which sways, stomps, mourns, floats, and soars for over 12 minutes to an emotionally climactic end that leaves me breathless. I can’t recommend this one enough. 10/10

Hellblind – A Plague On All Your Houses EP (Revenger Records) [Zach Scott]

In an era of metalcore that is now fairly removed from its origins in hardcore and 90s groove metal, the supergroup of Hellblind (composed of members of Romeo Must Die, Stampin’ Ground, This Is Menace, Pitchshifter, and Outside The Coma) brings it back to roots with this brief but vicious EP. Where many modern bands go for ambient and electronic influence, Hellblind opts for hardcore riffing and groove, and it serves as a great reminder of how the style originated. The abrasive production style of Scott Adkins (Grindstone Studios) serves the songs well, making this a raw and violent listen.

This EP starts straight off the bat with some groovy downtuned riffage in Evil Eye, with Adam Frakes Sime’s vocals sounding like a mixture of Phil Anselmo and Kublai Khan’s Matt Honeycutt. His hardcore style of vocal delivery is greatly complimented by the guitar work and use of gang vocals again, a rare thing to hear in modern metalcore. The frenetic energy of the first track leads into the Sepultura-esque intro of If You’re Going Through Hell, which contains some classic metalcore verses reminiscent of early bands like Killswitch Engage and Parkway Drive. Again, this track is interspersed with slower, heavier sections creating contrast within. Then we get to the release’s single, Hitched. This song noticeably contains more ambient guitar work and some big chorus sections, but it isn’t without its heavier and faster parts too – however, this song was very clearly written as a single, and as a result loses some of the momentum built by the previous tracks.

The rest of the EP is more groove-laden, with some more influence from early metalcore bands, particularly the thrash-influenced style of As I Lay Dying, as well as some more big choruses and breakdowns. The final breakdown of Soul Assassin, which serves as the overall close, is as heavy as the EP gets – it serves as an excellent way for this release to finish, with unapologetic groove. While this set of tracks is undoubtedly energetic, there is a tendency for the songs to feel like they are trying to do too much within each track. The choice to have such contrast in tempo within each track doesn’t quite give some of the riffs enough time to really dig in and stick in the listeners’ heads. As well as this, in some parts the ferocity of the guitar work can feel a bit forced – such as in the single Hitched - almost as if it’s a measured level of rawness, which again takes away from the overall hardcore-influenced feel of the EP.

Despite this, the EP is undoubtedly well-written, well-produced, and above all, heavy. The level of musicianship and writing skill in this group is high, and it is apparent in the clear conscious choice to stray from the stereotypes of both modern and classic metalcore, choosing instead to invoke the feel of the early 2000s, without falling into the same pitfalls that led to the genre’s derision by many of the metal community. 7/10

Metal To The Masses 2022 Interviews: Collapse The Void (Heat #4 06.05.22)

Interview With Collapse The Void By Matt Bladen

MoM: Introduce yourselves/remind everyone who you guys are. Band name, members, style etc? 

Collapse The Void: We are Collapse The Void. 5 piece metal/metalcore band from Newport (ish). Members consist of: Eli - Frontman, vocalist and maker of angry noises. Has a beard. Mike - Guitarist, also makes some angry noises. Also has a beard. Joel - Guitarist, makes less angry noises but also makes nice melodic ones too. Also has a beard. Sion - Bassist. Does not have beard. Oli - Drummer, no angry noises but sometimes sings. Has a beard. We consider our style to be progressive jazz that identifies as heavy metal. Influences: Bury Tomorrow, Parkway Drive, Trivium, Frank Sinatra, August Burns Red. 

MoM: How have the last year(s) been for the band? What have you been up too? 

Collapse The Void: Extremely adequate. We formed about 2 months before Covid hit, so it's been a bit difficult writing consistently, but we've had a good few gigs since things opened back up. 

MoM: What experience have you had with Bloodstock/M2TM in the past? 

Collapse The Void: None. This is our first rodeo. 

MoM:How are you feeling entering the M2TM format back as it should be? 

Collapse The Void: Playing in front of a crowd again? Very happy, hopefully we finally make daddy proud! What's a crowd? 

MoM: What would it mean to you to play Bloodstock? 

Collapse The Void: It's an ambition of all of ours to play at a major UK festival, it would be an unforgettable experience. 

MoM; Tell us two truths and one lie about the band? 

Collapse The Void: 

1. One of us was a cathedral choir boy

2. One of us is an opera trained singer

3. We're here for a good time and don't take ourselves too seriously. 

MoM: Finally give us a four word rundown of what to expect? 

Collapse The Void: Progressive jazz, maybe metal.

Reviews: Rammstein, Thunder, Jo Quail, Three Days Grace (Reviews By Matt Bladen)

Rammstein - Zeit (Universal Records)

Adorned in a photograph from none other than Bryan Adams, Zeit is the eighth album from German industrial metal pioneers Rammstein. Unlike the way they have carefully stage managed their career and image up to now, Zeit was unplanned, born out of the COVID-19 lockdown and the postponement of their tour for two years, they went into the studio with no plan and started to write this album almost spontaneously, letting the creativity flow freely rather than crafting meticulously. It makes for a more emotional record than the band have released, the throbbing synths, programming and samples from Christian 'Flake' Lorenz as big a part as ever. It brings a synthwave touch to opener Armee Der Tristen, paired with the stomping rhythms of Oliver Ridel (bass), Christoph Schneider (drums) and Paul Landers (rhythm guitar). 

It's typical Rammstein, easing you into this eighth album, but immediately you are hit with a more restrained, some may even say romantic sound with the title track, which translates to Time, it's more atmospheric and contemplative, almost putting a stop to the record before it really begins. Though Rammstein have always been in a league of their own, on Zeit they have the sound of a band moving towards their 30th year, skillfully blending their earlier style on Giftig and the thumping Zick Zack with an new introspection. They don't do away with the lewdness mind, the thrusting OK is about safe sex (use of a condom especially), Dicke Titten is about, well guess, but Zeit feels a bit more mature as well as more adventurous. 

Richard Kruspe getting to be a bit flashy with his lead guitars while also chugging with the rest of the band. Till Lindemann also is still the most recognisable voices in the business, leading this teutonic charge with his versatile croon. A band showing their experience in bounds, Zeit is probably their most accomplished album. Roll on those summer shows. 8/10 

Thunder - Dopamine (BMG Management)

Since they reconvened as a band again in 2011 you've barely been able to move in the rock world without seeing the name of rock n rolls cheeky chappies Thunder. Their bluesy, hard rock swagger can be witnessed multiple times a year in tours and festivals, with classic rock festivals especially over the last few years managing to use the band as both a headliner and sometimes an emergency headliner when another band pulls out or can't attend. Thunder seem to be universally liked and respected in hard rock circles as they have just enough classics that everyone can sing along to as well as a wealth of new material that stands up and at times surpasses their older stuff. The present day Thunder in the studio have never been afraid to take risks, Wonder Days was a nostalgic blues record, Rip It Up and All The Right Noises tended to be more of a mix of hard rocking and balladry.

On Dopamine, their 14th studio album they are more ambitious than they ever have been. Firstly by making it a 16 track double album featuring an eclectic mix of songs that range from the big joyous rockers that celebrate returning to the road on Across The Nation and One Day We'll Be Free Again as well as smooth blues of Even If It Takes A Lifetime and Big Pink Supermoon, a track that features a hit of parping sax, making me think of guitarist Luke Morley's band The Union, which he formed in the Thunder hiatus.There seems to be political/social edge to the record as I Don't Believe The World, draws from the conspiracy/misinformation that runs rampant in our world, while Disconnected, which has a Beatlesesque feeling at the end. Is about the communication age forcing us apart rather than together, while the overall feeling is one of being reunited.

There's a jukebox feel to this record as Thunder broaden their horizons musically more than they have before. Dopamine is another hit of hard rock euphoria from Danny Bowes (vocals), Luke Morley (guitar), Ben Matthews (guitar/keys), Chris Childs (bass) and Garry 'Harry' James (drums), continuing this purple patch of releases with what is probably their most accomplished. Two discs that could each be great as standalone records, but together give you the full breadth of what this British rock institution are all about. They're out on the road this year so go and catch them, loaded with a load more great songs. 9/10

Jo Quail - The Cartographer (By Norse)

Split into 5 Movements The Cartographer is the latest release from in demand and revered cellist Jo Quail. Commissioned for and premiered at Roadburn Festival just last weekend, to much critical acclaim, this is the recorded version of the suite for anyone that wasn't lucky enough to make it to Tilburg. Quail's music is esoteric, evocative and experimental, using her virtuosic cello playing and looping to combine the classical and metal world's.

Having collaborated with artists such as Myrkur, Amenra and Boris, she's no stranger to the metal scene, having been embraced by it but on The Cartographer the idea is to prove that classical music can be just as potent and heavy as anything a metal band can muster. Along with Jo is Danielle Van Berkom (Electric Violin), Floris Verbeij (piano), percussion from Nils Jenster and Vito Guerrieri and The New Trombone Collective for the brass to augment those strings and keys.

Movement 1 begins from a spoken word passages, dramatically increasing the drama towards the end with heartbreaking melodies set against a Hans Zimmer 'thomp' (you will know what I mean when you hear it) and some Holst-like drums, Movement 2, is almost a clarion call and a slow steady tick of a clock as stabs of strings and off kilter piano build a sound of creepiness. As the swell of ominous drama comes on Movement 3 where there's distortion too beneath the whispers and Gregorian chanting, as well as some wonderfully driving vocals from Jake Harding, that remind me of Wardruna.

These first three Movements are all so different, yet they feel like they are part of a cohesive whole, a journey through the five phrases that each of the movements is inspired by, this cohesiveness continues for the final 2. Movement 4 for example is a bit more impatient, the repeating motif giving pace for the brass to play something akin to a chase or a stakeout scene from a 70's movie. When you're a metal writer and not a classical one it's often hard to describe classical music as you can't always talk about riffs ect, but there's certainly a 'heavy' quality to this work, the climax coming with Luice Dehli's operatic vocals on Movement 5 the song feeling like a finale due to its shorter nature and slow build into a stirring cello segment as the rest of the elements build up around it in arpeggios.

You can understand why By Norse have released this record as it's primordial in its force, similar to so many of their Scandinavian folk/metal artists. The Cartographer is beautiful way to spend your time. Music that touches your soul. 9/10

Three Days Grace - Explosions (Music For Nations)

I'll admit now, I don't know much about Three Days Grace, my fiancé loves them as a fan of anything angsty and from the early 2000's. Now doing a bit of research and the PR that accompanied it, I know that Explosions is their seventh studio album, their third with Matt Walst on vocals. For those that don't know, Three Days Grace are a Canadian post grunge band formed in 1997, very much in the post-grunge/alternative rock sound that North American bands do very well, the kind that was a mainstay of rock radio and music video channels in the late 90's early 00's. 

Now I'm not sure what their previous singer sounded like, though I'm informed by my other half that Walst has a lower grittier vocal, but I like his voice on Explosions. Matt can belt out ballads such as Lifetime with conviction while also having that angsty rock delivery that's needed for music like this. The founding rhythm section of bassist Brad Walst and drummer Neil Sanderson bring the groove as they have since the bands inception, it's a weighty thump as Matt joins on rhythm guitars while Barry Stock gives us some melodic lead guitars, that simmer beneath Souvenirs. What is evident is that Three Days Grace have embraced the electronic atmospherics that so many bands now use as part of their music, it's deftly done on Explosions augmenting the music rather than smothering it. 

As I said I hadn't heard much Three Days Grace before listening to this album but I get why they are held in a high regard by their fanbase (my other half included). For me though Explosions doesn't have enough big bangs, but they do at least shine brighter than most. 7/10

Metal To The Masses 2022 Interviews: Root Zero (Heat #4 06.05.22)

Interview With Root Zero By Matt Bladen

MoM: Introduce yourselves/remind everyone who you guys are. Band name, members, style etc?

Root Zero: We are Root Zero, an atmospheric/gothic metal from the murky depths of Cardiff. We are a 5 piece with Sasha Bannister on vocals, Llyr Williams and Ben Evans on guitars, Giacomo Fiderio on bass/vocals and Joshua Powell-Gibbs on drums. We have a pretty wide variety of influences and styles we try to incorporate in our music. Our style is a combination of ethereal synths/effects, heavy downtuned riffs and haunting vocal melodies.

MoM: How have the last year(s) been for the band? What have you been up too?

Root Zero: The band’s history actually goes back a few years to 2015, when our bassist (Giacomo) first started collaborating with other musicians and writing some basic ideas. Unfortunately in Aberystwyth the possibilities for bands in general were quite limited, so the band never really took off. 

When Giacomo and our vocalist (Sasha) moved to Cardiff they tried to form a full lineup with a few different musicians, but the attempts weren’t successful. The project was nearly abandoned altogether until the end of 2019 when Josh joined on drums, and Llyr, who was living in Manchester at the time, expressed interest in joining as well, before moving to Cardiff in 2020 and becoming a full-time member. Ben was the last piece of the puzzle, who joined later on in 2021. 

Over the course of the last 2 or so years we have all been rehearsing and steadily improving our ability to play as a band, as well as collaborating more on songwriting. We are now sitting on a large backlog of songs, and we have finally been able to release our first single, Home, back during the first week of January. The reception to that single was very positive and it has given us a lot to be excited about, as we ready ourselves to release a second single and our debut EP very soon!

MoM: What experience have you had with Bloodstock/M2TM in the past?

Root Zero: None at all, we’re still a young band but we’re excited to get out and play as much as possible!

MoM: How are you feeling entering the M2TM format back as it should be? Playing in front of a crowd again?

Root Zero: We're feeling confident about entering M2TM as we've been practicing a LOT since forming the band. This would be our first time performing as Root Zero for anybody outside the band, and for a few of us this would be our first outing in live music full stop. A couple of us have been involved with other original projects over the last few years, but all of them came to an end as a result of covid. Whilst it's sad to have seen these bands amongst others like Anathema, Black Peaks and Toska come to an end, every cloud has its silver lining, and that silver lining for us was Root Zero. More than anything, we're looking forward to being able to perform at last and to meet some new up and coming bands trying out at M2TM!

MoM: What would it mean to you to play Bloodstock?

Root Zero: At risk of sounding cliche, playing a show at Bloodstock would be a dream come true for every member in the band. Growing up, it was always an event on our calendars every year, even if during some years we may not have been able to attend. It was always exciting to see what would be the lineup every year, as bloodstock featured many artists that we loved that we wouldn't be able to see at other festivals. 

Playing at Bloodstock would be a monumental opportunity to take part in one of the UK's biggest live metal institutions that seems almost incomprehensible to think about, as we will be able to play alongside many of our musical heroes, play to potential fans, connect with new people, and being our first festival would mark a crucial milestone in Root Zero's journey. Given everything that's happened in the last few years, It will also be a fantastic chance to welcome back international metal bands to the UK at long last!

MoM: Tell us two truths and one lie about the band?

Root Zero: 

1. One of the bands we all love is the Dixie Chicks
2. We all went to Aberystwyth University
3. One of us has beaten an Olympic gold medalist at Mario Kart

MoM: Finally give us a four word rundown of what to expect?

Root Zero: Bleak gothic riffy fun!

A View From The Back Of The Room: Monuments (Live Review By Tom Bladen)

Monuments, The Fleece Bristol, 28.04.2022

A master class in precision, energy and violence.

I like Monuments (10), I like them an awful lot. Being a Fellsilent fan before their inception and then throughout their career across all albums. It is very safe to say, I….really…..like….Monuments. With that out the way, I was slightly worried with this coming tour. Not due to material, In Stasis as previously discussed on the blog is a phenomenal piece of work front to back, tapping into the dissonant grooves present throughout The Amanuensis and the raw aggression prevalent in Gnosis. Definitely a return to form in my opinion as certain aspects of Phronesis didn’t quiet hook me like their previous works. Perhaps a foreshadowing to Chris and later Olly departing the band, something just felt a little off both on album and when I saw the Phronesis tour at the Globe in Cardiff. 

The above departures are what worried me. How would Andy Cizek fare live, as on record he is near flawless? Would it feel a bit more flat with just John and no Olly? As the band opened with their recent single Cardinal Red, any hint of concern was removed forcibly from my mind via piercing melodic vocals integrated seamlessly with guttural screams and the enormous presence and absurdly tight musicianship of John, Mike and Swanny. I cannot emphasis T I G H T enough. Having seen Monuments multiple times headlining and supporting the likes of Karnivool and the mighty Periphery. They have always been tight, sometimes more so than the aforementioned bands they were supporting. Which is no mean feat. But something seemed incredibly precise and clean about their performance and highlighted just how unnaturally talented John, Mike and Swanny are. 

There is an absurd amount of presence generated by the now four piece (Credit to so often forgotten sound tech also). It is not to be understated just how much of this presence is provided by Andy on vocals. A natural front man very much in touch with the groove and flow of the music with an incredibly emotive body language, he really elevates the performance to another level with his melodic vocals which fit perfectly within all of the band’s material, not just the songs recorded with him from the newest album. Twinned with ferocious harsh vocals and screams which elicited the desired response of ‘violence’ from the crowd at the request of Mr Cizek. From about 2 songs in the pit opened up and it did not close…. 

The icing on the cake regarding Andy’s debut tour with Monuments is that he matches the mind bending tightness of the rest of the band, I recall standing dumbstruck at points wondering how on earth the man had transitioned so smoothly from clean to harsh vocals and back again. Never skipping a beat or failing to hit a note, the breath control is astonishing to say the least. The four are all masters of their craft who structured and incredibly well thought out set list providing fantastic pacing with near album perfect execution across the whole set. I cannot wait to catch them again to experience more to the new album live as well as older material taken on by their current incarnation of Andy, John, Mike and Swanny.

A Flawless Victory.