ALBUM REVIEW: Dååth - The Deceivers

Of all the albums that have arrived in the review box in 2024, few piqued the curiosity like this one. The name Dååth was buried back in the late 2000s, with the band’s last release the self-titled fourth album in 2010. A 13-year hiatus is ended with the arrival of The Deceivers, and I’ll wager a five-pound note that this will end up in the top ten at the end of the year. Technical, orchestral, intense, and rich in melody, this is an album that provides an over-the-top delivery that works on every level. Nine songs that feature numerous guest musicians alongside the now established new line-up, The Deceivers is simply astonishing in so many ways. Dååth were founded by guitarist Eyal Levi in 1999, and over a decade, they forged a reputation which saw them join tours with Cattle Decapitation, Dark Funeral, Cynic, Nile, Slayer, Dragonforce, Goatwhore, Chimaira, Dying Fetus, and Devildriver. When the band started its hiatus, Levi threw himself into production before forming Unstoppable Recording Machine, a school that teaches metal music production, and its sister school, Riffhard, that teaches metal guitar, and helped turn them into hugely successful businesses. I’m not going to regurgitate the history but suffice that Levi’s return to the band he founded, and the signing with the most apt label in Metal Blade all makes sense. Alongside Levi is vocalist Sean Zatorsky, who has sung with the band since 2007. His delivery is brutal, an aggressive tour de force in death growling roars, that cascade throughout the release. 

Alongside Levi and Zatorsky, the line-up is completed Kerim “Krimh” Lechner on drums, Jesse Zuretti on orchestration and guitar, lead guitarist Rafael Trujillo and bassist David Marvuglio. Guest guitar solos are contributed across numerous tracks by Jeff Loomis (Nevermore, Arch Enemy); Mark Holcomb (Periphery); Dean Lamb (Archspire); Per Nilsson; (Scar Symmetry, Meshuggah); Spiro Dussias (Platonist), and Dan Sugarman (Ice Nine Kills), with renowned video game composer Mick Gordon (Doom Eternal) contributing sound design and synth to Purified by Vengeance.

It's an album that is both immediate and a grower, demanding repeated listens to absorb the intricate playing, the subtle flicks, the layered synth work, and the explosive drumming of Krimh, the engine room behind Septicflesh and ex-Decapitated. With all members contributing fully, including the writing process, this is very much an organic and cohesive unit that is still finding its way. For them to release an album of such high quality demonstrates the talent involved. Opening track, No Rest No End starts with a pulverising pattern, and whilst the tempo doesn’t let up for a minute throughout the songs, there is room to breathe, to listen, and absorb. The mix of classical and orchestral elements with more expected technical death metal is an interesting concept, and whilst it might not always work, here it fits neatly together. 

Dååth - photo by Stephaine Cabral

Single Hex Unending allows cleansing opportunities, as Zatorsky explains. “It’s about shedding skin, cleansing the old me; reinventing, and carving a new path vocally, physically, and mentally. This song needed to be front and centre on the record”. Few bands can integrate orchestral movements with the extreme, Septicflesh and Fleshgod Apocalypse two that do it admirably, and whilst Dååth don’t have the same dramatic heights that the Greeks and Italians achieve, that’s purely because they play a different style. But dive into the likes of Purified by Vengeance and you’ll see exactly what Dååth can do. It’s a dramatic and explosive track, surrounded by similar excellence. 

In fact, it’s an album that I just can’t stop playing. Absorbing the flowing energy on songs like Deserving the Grave is an experience that needs to be repeated regularly to fully enjoy. It may be 13 years since the last album, but this demonstrates that all things come to him who waits. Perhaps the last word here belongs with the main man. “We're taking this to its full potential, letting nothing and nobody stand in our way. If you're not going all out, what's the point?"

The Deceivers is released on 3rd May on Metal Blade Records

Review by Hutch 

ALBUM REVIEW: Mob Rules - Celebration Day – 30 Years Of Mob Rules

Mob Rules is a German power classic metal band formed in 1994 but only released their first album Savage Land five years later in 1999. Since then, they have released a further nine albums, with Celebration Day – 30 Years of Mob Rules a retrospective review of their extensive career. Covering singles, a smattering of rerecorded tracks and a few covers by bands that have influenced them, this is quite the body of work. The disc kicks off with the track Way of the World from their 2002's Hallowed Be Thy Name album. A classic power metal opener, the twin guitars of Florian Dyszballs and Sven Ludke ring out a catchy riff for a bar before the driving drums, anthemic keyboards, and bass kick in to produce a classic metal sound. Klaus Dirks vocal is clear, high pitched almost operatic, and perfect for power metal. This is quite representative for the band and the genre of metal they have forged for themselves. 

The group of covers are generally respectful and include Iron Maiden’s Run to The Hills and Dio’s Sacred Heart. The best is the version of Irene Cara’s Fame. It’s not that different to the original, but with a beefed up back line and Dirk’s vocals lifting the song, it is given a well needed boost. There are a couple of power ballads including Better Morning and The Oswald File: Chapter II which for me detract from the flow of the album, but then, I have never liked the ballads that rock bands do, so this shouldn’t really be a surprise! 

My favourite tracks are Flags of Life which opens with a jaunty gypsy violin and runs through like a good Alestorm pirate metal classic. Unholy War opens with a riff that could sit nicely on any Volbeat album and runs along with gusto. Overall, I liked most of the album. It feels like one that you’ve had for years as the music is so familiar and reminiscent of many bands of the 80’s and 90’s. Obvious influences of Maiden, Megadeth, Scorpions even Volbeat and Amon Amarth are worn on their sleeve. In no way is this a criticism, and for me, it’s great to listen to bands that take well-loved influences and execute them with such love and respect. With a few exceptions, the songs are well crafted and produced and mixed to a high standard. Not what I would normally listen to but I’ll be keeping an eye out for future albums and pick them for a nice hug of good old classic style rock.

Celebration Day – 30 Years Of Mob Rules is released on 3rd May on Steamhammer /SPV

Review by John Caffery

ALBUM REVIEW: Ten Ton Slug - Colossal Oppressor

The artwork for this album depicts a huge, weighty, monstrous creature, crushing all in its wake. It’s terrifying, destructive but impressive form is on show for all to see. A perfect metaphor for the music contained inside. Ten Ton Slug have already carved out a successful fan base large enough to cause the sell-out of vinyl copies of this album before its release date. This was also long before reviews began to surface, demonstrating the faith and loyalty this band create. 

 The two singles released have already hinted at the calibre of the album Colossal Oppressor, and I am happy to report the first few minutes of this album will settle any nerves fans may have had revolving round it’s quality. The acoustic sounding guitar leads into the weighty riff of the first track The Ooze. It’s slow, sludgy, and powerful. All the components that invoke The Slug’s earlier work is still here. This is essential as the EPs the band have released, along with their live shows, have created the buzz around this band that is perfectly acceptable. I am one who is buzzing. The clout and strength does not subside as we go through the album. Top shelf death/sludge metal vocals both smooth and pummel. Rónán Ó hArrachtáin’s vocals are impressive once more but are by no means the only stand out on the album. Killer punishing riffs pepper this album, while the drum work is exemplary. The bass handiwork adds to the weightiness of their sound. 

And while we talk of sound the production is beautiful, and the word beautiful is one I would never have reasoned I would use while writing about this band; but it’s true. Ten Ton Slug’s song writing skills allow tracks to speed up, but never attain thrash metal speed, and slow down to cause the head to bob but never drop in boredom. Each track has individual properties while always being a Ten Ton Slug track. We have a guest appearance of Karl Willets on the track Brutus which I know will at least have made vocalist Rónán very happy, as I was talking to him at the Bloodstock festival a few years ago, and he told me about his love of Memoriam's music. I hope this is seen as another stamp of approval. I have long since stopped listening to this album for review purposes; I am several listens in now, just for the sheer bloody pleasure of it.

Colossal Oppressor is released on 1st May and dedicated to the memory of Dessie Harrington. 

Review by Neil 'Thrashtash' Bolton

ALBUM REVIEW: Six by Six - Beyond Shadowland

I knew very little about Six by Six when this album arrived for review. Yes, I knew the band comprised Saxon drummer Nigel Glockler, Ian Crichton of Saga and Robert Berry, roots in the ELP family and singer, bassist, and keyboardist, so are in many ways a supergroup of sorts, but I knew next to nothing about their sound. 

Beyond Shadowland is the band’s second release, following on from their eponymous debut album released in August 2022. It’s a glorious combination of progressive rock, rich in melody but with that hard rock edge that provides a sonic menu of songs that will delight those who find solace in this genre. It’s an interesting collective. Glockler, the Saxon powerhouse is restrained, delicate percussion and intricate patterns providing ample evidence of the man’s wider qualities. Berry has a thumping bass tone and the clean, warmth in his singing that gives Six by Six an additional quality. Throw in Crichton’s subtle and oft-understated guitar work, and you can’t go wrong. 

Whilst it was never going to be bone-crushing, there’s plenty of bite to Beyond Shadowland. Opener Wren threatens to bring a darker edge before the jaunty refrain that lights it up kicks in. It’s a song described as taking full advantage of life and it certainly gives a significant vibe for the rest of the album, with some almost subliminal Eastern flourishes. Topical observation regarding the perils of clickbait follows in The Arms of a Word, with a feel not unfamiliar to the sound of UK progressive outfit Godsticks. There is plenty of options on Beyond Shadowland. Obiliex for example, shows the sensitive side of the group, with the thought of floating through space to a new dimension, a new destination, a new home. There is glorious acoustic guitar that is overridden by Crichton’s perfect electric lead work. It’s surely an option we’ve all considered. That change of pace, location, and lifestyle. It’s captured here. 

Six by Six - photo by Dave Lepori
As you explore this fascinating album, you come across a variety of styles. Titans focuses on the silent but strong in our communities. It’s an ear worm with a definite feel of days gone by. Contemporary but also retro in sound. There’s a definite late 80- early 90s feel here. By the time you get to final track The Mission, you’ll either be fully committed to Six by Six or have walked on by. For me, it’s a stunning release, and the final song provides the perfect summary. Solid riffs, a catchy hook, perfectly composed and with an underlying riff to hum all day. There’s very little to disagree with on this release. If you like your rock with a progressive and melodic flavour, then Beyond Shadowland is an album you should check out.

Beyond Shadowland is released on 26th April via Inside Out Music 

Review by Hutch - https://www.facebook.com/hutch224

LIVE REVIEW: Fury / Bastette / Pulverise at The Ferret, Preston. 18th April 2024

The spot for tonight’s rock n roll extravaganza is The Ferret in Preston, an enjoyable venue with a good atmosphere and nice staff. It does help when the people running the show seem to enjoy the night and music as much as the punters. The evening kicks off or should I say bounces off with Pulverise. Their blend Of Hip Hop, Hard Core, New Metal, Rap, and Rock feels appropriate on a Friday night. Jojo’s vocal and performance is sharp and entertaining. She skips around the stage with abandon and glee, a feeling that becomes infectious as the crowd begin to sway to the music in front of them. Daz on bass knows his way around a fret board and is not shy to add a death metal growl as backing to his compadre’s singing. Guitars crunch along with Hard Core intent and sit well with the rapping. Vicky Buttfairy sings along to all the words although not mic-ed up. She does have a song called Bitchin dedicated to her though. The Leeds foursome throw in a cover of Cypress Hill and The Ferret goes insane in the membrane. 

A mainly metal crowd has already watched a band that may not have been on their radar before, and things are not about to change, even though the style of music certainly has. Bastette expertly perform their style of soft rock with a hint of Pretenders in it. Carline Kenyon’s vocals, in my opinion back up this comparison. Alongside her silky voice, her sultry dancing and attitude keeps all eyes on Kenyon. The band are no slouches though, with the occasional guitar solo adding to the overall effect. Another band who may not have been on the playlist of many, but this Pop Rock blend with 80’s panache hits the mark this Friday evening. There was every chance both support bands could have been staring out into a sea of indifference this evening, but no. People stayed put, people enjoyed. 

“Preston! Do you want some rock n roll” roars Julian Jenkins as Fury fly into If you Get to Hell First from their recent album Born to Sin. His amazing voice pierces the strobing smoke-filled atmosphere, and The Ferret is rocking! This Rock and Roll Metal band have no weak links Jenkins has amazing vocal and guitar skills, and he is joined on co-lead vocals by signer Nyah Ifill who adds her incredible voice with flair and dancing skills. Drummer Tom Fenn is a powerful machine who can blast with power and expertise.

The relatively recent addition of guitar prodigy Tom Atkinson [Vice] is a perfect fit, he is a guitar God in the making. With the now world-famous bassist Becky Baldwin proving what an asset she is, one realises that there is a lot of talent on this stage this evening and every member makes use of it. Fury race through songs both old and new; all of them go down well, Jenkins takes a solo moment to grace Preston with a folky mystical tale of love, with band members sitting out the early section of the song, only to join further in. 

The infectious smiles of the band are not the only reason the crowd is beaming. It’s the music, it’s the atmosphere. All band members have stage craft, and musical chemistry. Add this to the good sound, and solid venue, a decent night was guaranteed.

Review and photos by Neil 'Thrashtash' Bolton

ALBUM REVIEW: Deicide - Banished by Sin

I came to the Deicide party a little bit late. The first album passed me by, and I only heard about them in 1991 through a Channel 4 documentary called Banned: Dancing with the Devil (this took a lot of digging around the internet to find what it was). I heard extracts of Sacrificial Suicide and bought the 1989 self-titled debut album the next day. I stayed with them for the next two releases, but then forgot about them. I jumped at the chance to give this a listen. 

Banished by Sin is the 13th studio album by the Floridian death metallers, and the first in six years since 2018’s Overtures of Blasphemy. Founder members Steve Asheim (Drums) and Glenn Benton (Bass/Vocals) are joined by guitarists Kevin Quirion, who played on the last two releases, and newcomer, Taylor Nordberg.

This album does not hang around, the longest track Ritual Defied clocks in at just

over the three-and-a-half-minute mark, and the whole album is a total of 39 minutes. However, none of the album seems rushed, and riffs/sections are allowed to breathe and take shape. The production is modern but is not overly processed or compressed, which is something that Glen Benton said he wanted to steer clear of, looking for instead a live sounding album. All instruments sit well in the mix, and Benton's bass rings out like a bell. It really does have an OSDM feel to it but dragged into 2020’s. 

The opening track From Unknown Heights You Shall Fall really sets the tone of the album. An intro riff that wouldn't be out of place in 80’s Thrash, wailing demonic guitars layered over, and Benton's typical dual vocal unholy growl hailing the start of the song proper. The pre-chorus riff is heavy and hooky, and the timing changes really add to it. Doomed to Die grabs you straight by throat before you get out of the blocks. Reminiscent of Sacrificial Suicide, it shows how Benton's phrasing really draws you into the vocals. The single, Sever the Tongue is quite a tech offering, with timing and tempo changes, and a great guitar line enhancing the melody of Benton growling, "How dare you pray for me? Unwanted!". Fourth track Faithless starts in a much different manner to the previous songs. Picked arpeggios ringing out, almost like a black metal intro, shows the versatility, and the guitar work over is harmonic. Then they hit you with intense tremolo picking. 

I mentioned before the hooks that Benton comes up with in the vocals, and this is really showcased in Bury the Cross... With Your Christ chorus, I am I...A Curse of Death and The Light Defeated, the latter probably being my favourite track. Religion is the answer, if the question is disease, Benton snarls as the guitars chug and bass and drums work together to give that solid foundation that is consistent throughout. There are some great little touches on this, a little guitar part in the previously mentioned song, just before the main solo is sublime, as is the use of dual guitar on selected parts of solos, that really elevates these sections. Regarding the guitar work, it is never showy. It is shreddy in places and technical, obviously, but there are never parts that have been shoehorned in to say, 'look how good I am', it is played with feeling and really fits. 

In summary, this is a great record from start to finish. I have listened to it back-to-back numerous times and still want to go back for more.

Banished by Sin is released on 26th April on Reigning Phoenix Music

All photos by Gene Smirnov

Review by Rich 'Tricky' Hudson

EP REVIEW: Dead Flesh - Dehumanise

Dead Flesh, the Hertfordshire Death Core band (not to be confused with the Jacksonville, Florida band of the same name, who disbanded in 2012) are about to release their debut EP – Dehumanise, and it’s a bit of a bruiser. They state in their biog that their mission statement is to “Showcase the horror of society and mental struggle through disgusting music” something I think they achieve with aplomb. 

Over the five tracks featured, the pace changes frequently but never detract from the brutality of the tunes on offer. The vocals of Richard Stevenson are raspy and quite often sound like two different people, similar in my view to the likes of Carcass. The drums courtesy of Michael O’Neill is pounding, but are not just blasters, though there are plenty of those on offer here; sometimes it’s like being pummelled by Mike Tyson. Starting with Born into the Meat Grinder, the riffs come like a maelstrom of noise, thanks to guitarists Michael Worsley, Chris Everett and bassist Adam McGuinness giving the overall sound a solid grounding. The song also has a sublime piece of Gregorian chanting in the backing vocals, which could easily be missed if only casually listening. Sick has a chunky riff that I suspect would really get a crowd going in the live setting.

In Bodies upon Bodies the vocals sound quite processed, almost like they were over compressed to make them more guttural, which detracted slightly, but this is a minor quibble. Swallowing Nails follows, and starts with some atmospheric guitar flourishes, before going into a slower, more groove laden riff, and is my highlight on a strong EP. Dead Flesh finishes the EP, another highlight with a beautiful under tune, almost a background solo behind the chorus, which itself is quite catchy. As someone who loves both Death Metal and Grindcore, this was very much in my wheelhouse, and I look forward to hearing more from this band and catching them live if they play somewhere near me.

Dehumanise is released independently on 28th April 

Dead Flesh Link Tree

Review by Andrew Matthews

ALBUM REVIEW: Praying Mantis – Defiance

It’s been a long time since I listened to Praying Mantis. As an 11-year-old, Time Tells No Lies was an iconic album cover, created by artist Rodney Matthews whose magnificent artwork captured the imagination on albums such as Chase the Dragon by Magnum, Tygers of Pan Tang’s Crazy Nights, and Diamond Head’s Borrowed Time. Now, if I’m honest, that’s about all I can remember about Time Tells No Lies, but I did review their 10th record Legacy in 2015, and recall it was a solid slab of melodic hard rock. It was the first album to feature vocalist Jaycee Cuijpers, drummer Hans in’t Zandt, who both remain integral to the band alongside founder members and brothers Chris and Tino Troy and guitarist Andy Burgess. Almost a decade after Legacy, we see Praying Mantis become another band reaching the half-century milestone with new release Defiance. Chris Troy says of the album, "It sets the tone for what's to come on the album—a perfect blend of classic Praying Mantis with a contemporary twist". 

So, what is classic Praying Mantis you may ask. Well, in summary, it’s a rich blend of melodic hard rock with an edge that provides the band with their own sound. Plenty of excellent guitar work from Chris Troy and Burgess litter the songs here, whilst the sound is underpinned by subtle, layered keyboards that add to the overall feel of the songs. Cuijpers possesses a fine voice, and it’s used to the full, without overdoing any element. The title track comes in second, and it’s a song full of pomp and bombast, with a semi-ballad feel giving it a soothing and welcoming style. Plenty of keyboard wizardry on the poppy Feelin’ Lucky provides a different perspective, whilst the band have got in their cover of the Russ Ballad penned, I Surrender, a track that caused some conflict back in the day and which was a decent sized hit for the Joe Lynn Turner era Rainbow. It’s a faithful cover of the Rainbow version and still one to which you can nod and sing along. Throughout Defiance the music gently finds a way into your inner listening. Very much in the Magnum vein, there are tracks like Standing Tall that cross genres, the beautifully crafted One Heart that has an iconic feel about it, and the triumphant Let’s See which closes out the album. The melodic rock genre, like most, is saturated with bands of variable quality. With their 13th album, Praying Mantis have shown their quality once more, and proved that after 50 years, the band who once were part of the NWOBHM movement can still bring top class rock music to our attention.

Praying Mantis Facebook

Defiance is released on 19th April on Frontiers Music

Review by Hutch

SINGLE REVIEW: Greyfox Conspiracy - Crazy Horse

There’s a storm brewing in South Wales and it’s coming your way. The combination of experience and excellence has manifested into a powerful outfit that goes by the name of Greyfox Conspiracy. Five seasoned musicians now pulling in the same direction, and rightly receiving rave reviews every time they get up on stage. They write about life and love, and like a good whiskey, they are improving over time.

Their latest single is called Crazy Horse and it’s a five-minute tribute to the legendary Tasunke Witco, Lakota warrior and leader of the Oglala Lakota in the 19th century. Leading the fight against the US federal government’s encroachment on Native American territory, he put the needs of his people above everything else. In history, he stands as a figure of respect and inspiration. Greyfox Conspiracy capture the essence of Crazy Horse in their own unique way. A stomping, swampy groove to the song sees singer Greyfox Growl chart the legend, whilst the band lock in tight to provide an anthemic track that sticks in the head for hours afterwards. Slick, yet with enough dirt under the nails to make it gritty, it’s an excellent release, and their special style of Southern rock combined with that South Walian tone make this an unmissable single, and one that is already a firm fan favourite. They may be grizzled veterans, but this is a band who are creating waves.

You can check out the video to Crazy Horse below. 

Crazy Horse was released on 5th April. Find out more about Greyfox Conspiracy at https://www.greyfoxconspiracy.com/

ALBUM REVIEW: Folterkammer - Weibermacht

Blending furious black metal with classical, opera, and baroque, the international collective known as Folterkammer (Torture Chamber) presents as one of the most unique and interesting releases of 2024. On first listen, it’s almost too wild a ride, but a deeper into the band’s history and composition explains much. This is group who contain Zachary Ezrin of black metal avant-garde metallers Imperial Triumphant, and vocalist Andromeda Anarchia, who has contributed guest vocals on their recent albums. Folterkammer first emerged around five years ago and released debut album Die Lederpredigt in 2020. The band currently comprises Anarchia, Ezrin on guitars, Darren Hanson on guitars, Laurent David on bass, and Brendan McGowan on drums. Anarchia, born in Switzerland and Parisian David split their time between Europe and Brooklyn, giving the band a truly international flavour. It’s evident from listening to Weibermacht that this isn’t an outfit that has come together for their first recording. All are seasoned musicians, with Anarchia’s Darkmatters project and David’s avant-garde jazz trio Kilter featuring Imperial Triumphant’s Kenny Grohowski. To say that Weibermacht is an assault on the senses is an understatement. The blistering black metal explodes in huge bursts of tremolo picking and blast beats, savage and aggressive, yet at times simple and ethereal. Anarchia’s snarling growls contrast with her impressive operatics, whilst there are elements of the eccentricity of Kate Bush et al in the compositions. 

At times it all seems familiar. And yet, despite the dips into nostalgic styles, the music is intensely creative and contemporary. Bursts of ferocious black metal are enhanced by Anarchia’s vocals, which provide added curiosity as they are sung in German. It’s massive, with sweeping and often chaotic compositions that both wash over the listener and crash into them with power and a deliberate style. It's perhaps best described as the antithesis of a rock cabaret, for although there is plenty of drama, atmosphere and musically an unworldly and unforgettable experience, the bludgeoning black metal delivery that underpins the vocals provides a challenging experience. 

At times, Anarchia is soaring in the high octaves, in others she is screaming like a banshee. It’s this combination of delivery that makes the whole approach so unique and interesting. Alongside the original compositions, which range from the blistering opening of Anno Domina to the penultimate ferocity of Das Peitschengedicht, the band finish with an astonishing explosive cover of the Velvet Underground’s Venus in Furs, which demonstrates the vocal gymnastics that Anarchia can perform. Innovative, eclectic, drawing in art forms from across the Globe, Weibermacht is an astonishing release. There is plenty to explore here, with these ingenious creative musicians drawing on everything they know to deliver an album that swings from crazy to compelling from start to finish. If there is one album you must hear in 2024, make it this one. 

Weibermacht is released by Century Media Records on 19th April

Review by Hutch 

ALBUM REVIEW: Dvne - Voidkind

I first became aware of the Edinburgh band Dvne with the release of their second album Etemen Ænka. They had me by the conclusion of the first track. It was not long before I dived into their earlier releases, and I was hooked. So, it is with a reasonable amount of glee I sit here with this review copy. Now a five-piece, Voidkind looks to build on the deserved success that the band have so far achieved. 

If you are familiar with their music, you will immediately recognise their style and sound. There is no sudden switch to metalcore or pop rock. The death metal growl menacingly tears into your soul while the beautiful clean vocals sooth any wounds caused by this pounding. All the tracks that Dvne craft contain a high level of skill and storytelling. The band state “if something is very heavy, that doesn’t mean it can’t be melodic as well”. A point they prove well, and often. Dvne has forged a reputation for blending the brutal with the delicate, and they have not strayed from that path on this release. 

Many of these songs have been created through jam sessions, and you will not be surprised to hear several tracks stray over the five-minute marker, although not all of them. Each track is allowed to breathe, if that is what is required, or shine in a quick burst as necessary. All of this is tinged with a progressive, post-metal feel. The songs never lose power, even in their calmer moments. Musically it is on point once again, guitar solos pepper the album, and crunchy powerful riffs provide foundations for the songs for the listener to bathe and revel in. The drums switch from beautifully smooth to crushingly devastating in the space of the same track. All attributes I love in a band dealing with the light and shade of music. Voidkind triumphs in the fact that it is an album that will not only please existing fans but should entice new fans to the fold as well.

Voidkind is released on Metal Blade Records on 19th April.

The band are on tour in the UK next week

23rd     NEWCASTLE – The Cluny
24th     LEEDS – Brudenell
25th     NORWICH – Voodoo Daddies
26th     BRIGHTON – Green Door Store
27th     BRISTOL – Exchange
28th     BIRMINGHAM – Devil‘s Dog

Review by Neil 'Thrashtash' Bolton

 

LIVE REVIEW: Imperium / Madicide / In Which it Burns - Fuel Rock Club, Cardiff 14th April 2024

Hightailing it back from Derby to my home in South Wales, it was impossible not to reflect on the performance of Imperium at their headlining show at The Hairy Dog for the MTROFEST 24. A band I've followed since day one, they are now showing all the signs of an act that could lead the UK metal scene for the next two decades. Tonight, Imperium head for Fuel Rock Club in the Welsh Capital for their debut Welsh show. It's about time, and despite the small turnout, those that make the effort are rewarding with a headline show worthy of venues ten times the size. Before the Londoners show us how it's done, two Welsh bands get the venue warmed up in fine style. 

First up, it's the groove thrash of Haverfordwest boys In Which it Burns. They've been through multiple line-up changes over the years, but frontman Wayne 'Stretch' Mayhew and lead guitarist Steve Flynn know what they are doing (despite Stretch's protestations). They play a fast and furious set, throwing in tracks from their forthcoming album alongside older songs that are known to me and a few others in the audience. Lyrically astute, raging at injustice and hypocrisy, IWIB are tight, lean, and impressive. There's an enthusiastic mosh rumble, whilst a couple of very young fans are later seen sporting IWIB beanies with joy. IWIB are in the quarterfinals of the South Wales Metal to the Masses and with a good wind could easily do some damage. 

Slightly further East than IWIB's Pembrokeshire lair is Neath, home of Madicide. The boys were in Derby the day before, giving their all, and despite the travel miles, tonight they once again bring all their enthusiasm to a 35-minute set that draws from their discography that dates back over a decade. No Josh 'Bean' on bass again, but he's ably replaced by Elliot Morgan, who slots in with an energy that fits right in with the chaos that Madicide bring. Their raw and rudimentary thrash metal brings a smile to the face, with the carnage of Death March, Killing Machine and The Pit and the Pendulum all delivered with an anarchic panache. They won't win the best musician of the night award, but they always have fun, and that is gold.

They are deep into their tour, using their weekends to get around venues in the UK, but Imperium aren't showing any signs of fatigue. It's hot, cramped in comparison to the night before, but nothing fazes this outfit. They bring a blistering show, refusing to ease up on the pace for one minute. Vocalist Ben Porter is in the form of his life, a new approach to his technique paying dividends; he's never sounded better. Imperium draw from their two EPs and get the mini pits back in action with some enthusiastic action during Ragnarok, the massive Iron Thunder and the singalong Here Comes the Night. The crowd may be small, but they ensure Imperium will return to Wales with a hugely enthusiastic response. 

By the time they hit When Kings Meet, which is sounding massive, it's a resounding triumph. Imperium have scaled the castle walls and now stand atop in majestic splendour. You should get to one of their gigs whilst you can, because these boys won't be playing up close and personal for much longer.

Review and photos by Hutch https://www.facebook.com/hutch224

ALBUM REVIEW: Blaze of Perdition - Upharsin

The sixth full length album by the Polish black metallers Blaze of Perdition is by their own admission a return to the more orthodox style of black metal after the 2020 album The Harrowing of Hearts. Like a tick list of black metal traits, it has them all covered, the growled harsh vocals of S (they only go by initials on the blurb, but a quick check of Encyclopaedia Metallum says his name is Sonnelion), the blast beats of drummer VZN, the sometimes atonal and other times melancholic guitars of XCII and M.R. (Marcin Rybichi), and the solid bass of session man Wyrd, the only thing they have missed is an unreadable logo! 

The five songs on offer here are not short, the briefest being Przel Rany (Through the Wounds) at 07:17, but they rarely become boring as the riffs intertwine, keeping you fully engaged in the music, although the lyrics sung in Polish make the vocals hard or almost impossible to understand (to a non-Polish speaker). The Album starts with W Kwiecie Rozłamu (in Ruptures Prime), a thunderous cacophony of blasters, gurgles and riffs a plenty, which is almost unlistenable, but once they slow down, the riffs become more defined, and in parts ethereal. The Stunning Niezmywalne (Indelible) is a wonderful sludgy melancholic wall of swirling riffs, and the drumming is superb throughout. The song is slightly dampened by an almost laughable part two-thirds of the way through, when it sounds like someone moaning in pain. 

Blaze of Perdition - photo by Justyna Kaminska

The album finishes with the nine-and-a-half-minute epic Młot MiecrI I Bat (Hammer, Sword, and Whip), which after a sinewy repeated guitar part finishes with a gorgeous guitar solo. The production is very clean, unlike most black metal I have heard, and this does help make the extreme parts of this more palatable, but a clean vocal now and again would help break up the gargles a bit. If black metal is your thing, you won’t be disappointed with this. It’s not my go to type of metal, so I struggled initially, but it rewards repeated listens, and after four or five plays, I was quite enjoying this.

Upharsin is released on 19th April on Metal Blade Records

Review by Andrew Matthews

EP Review: Halberd - Drinks All Round

There’s an old saying that goes something like, ‘Alcohol. Because no great story ever started with someone eating a salad’. Now, put aside your personal views on the fantastic tale-inducing capabilities of both salad and the demon drink, and for a moment put yourself in the position of our heroes of this tale, Halberd. Nearing the end of finishing their new album, the Southeast London thrash metal band found themselves in the unfortunate position of having their computer crash on them. Yes, you’ve guessed it, losing everything! Sorrows were to be drowned, and suitably submerged they were. Thankfully with a table of empties afore them and under the influence of much beer, the story of Drinks All Round began. 

Halberd decided to create an EP until they could get back to focusing on the album. With a sound very much in groove and thrash metal waters, although flirting with death metal flavours at times, how will a hastily created EP born out of necessity compared to the infectious, punishing aural assault that we’ve come to expect. Will we excitedly lap it up, as with previous Halberd releases? Well, in less than a minute the mid-paced blast of the title track sets the feel and the tone of what is to follow as Casey snarls Drinks All Round with a ferocious demeanour. The opener is a welcome yet nasty baptism of blackened thrash metal that more than whets the appetite. 

Next, we have Cyanide, and this gritty thrasher is a beast. Halberd are at their strongest when the rampaging quintet are locked in and unleashing that raw, vicious attack of thrash metal. Potent, stabbing, and muscular riffing, glorious leads, and brutally aggressive yet restrained blasts all combine to create a catchy yet monstrous track that will no doubt become a live staple. The hulking stomp of The Future Be None owns a swagger and menace that is a trademark of the Halberd sound. Bassist Rubix and drummer Zack steer this well-honed machine ever forward. That tightness, that controlled hold on the onward momentum is clear, and is to be commended. Here is a tale of one song with two distinct parts that works brilliantly. Having pulled into its groove effortlessly, the occasional presence of a surprising filthy, scratchy riff that summons all the very best of 90’s alternative metal is unexpected, yet very welcome. The pummelling crunch and pulsating chug is merely the warm-up for the main act. 

Some songs are made for the pit. The second half of The Future Be None would be the soundtrack of that most metal gig-going tradition. With a penchant for mixing thrash, death, and groove metal, by no means have Halberd swallowed a progressive metal pill but in closer Shadows of the Night they are to be applauded for injecting further experimental flavours to their arsenal. A spoken word section and sublimely understated yet razor sharp leadwork illuminates the song and elevates the appeal of the EP further. Not only is the ripping thrash metal assault a thrill ride you’ll want to experience all over again, but the ability the muscular riffs give way to the peerless solos, which work in unison with the vocals is a joy to hear. We can learn from the five lads from Southeast London and take much away from their attitude and experiences that combined to make Drinks All Round. For this EP is a tale of victory in the face of adversity. It’s unlikely though that any salad was consumed on that night in the boozer!

Drinks All Round is released on 19th April.

Review by Robbie Maguire.

ALBUM REVIEW: Tyr - Battle Ballads

Tyr are not a band that I am familiar with so when I was given this to review I did not know what to expect. So when I saw the title I was expecting generic Viking metal. But that is not what came out of the speakers.
With a little research I discovered that Tyr a from the Faroe Islands and this is their ninth album. The opener Hammered starts with a very catchy riff a big synth style guitars (maybe a keytar in there as well) driving drums and the clear jovial vocals of Heri Joensen follow the rhythm of the song as it drives merrily along. This repeated throughout the album, sort of a less angry Amon Amoth.
Unwandered Ways starts with a  well used jolly folk hook and bounces along nicely, and the scene is set this theme is used throughout the album, Row and Hangman are my favourite tracks here, the classic rock vocals and fast drums, almost symphonic guitarsare a joy. The Viking imagery and big sing along choruses will be fantastic in a live setting.

A few slower songs in their native tongue Torkils Døtur and  Causa Latronum Normannorum detract from the flow of the album for me but will probably be welcomed by fans.
The driving force of this album for me is the relentless drumming of Tadeuze Rieckmann, Which really shine through on Dragons never die and axes. 
As this is a corner on the metal scene I have rarely wandered into and have little reference point apart from Amon Amoth and Manowar. Despite this I have really enjoyed listening to Tyr the subject matter and ridiculous lyrics actually made me like it more. I think that there songs will definitely benefit from a live setting, and look forwards to maybe seeing them one year at bloodstock. So raise you drinking horns and chant at the altar of Tyr.

Battle Ballads is out now on Metal Blade Records
Review by John Caffrey

Album Review: The Lunar Effect - Sounds of Green & Blue

There’s no doubting that The Lunar Effect keep one foot firmly in the seventies. Their style is distinctly fuzzed up stoner riffage but there is more to consider in this sophomore release. A debut EP was followed by the first album Calm Before the Storm in 2019, and now they present nine tracks which vary in style and tempo, but all grab you in different ways. There’s a definite Sabbath wandering on opener Ocean Queen, which smoulders before exploding in a crunching cloud of big riffs, a stoner / psychedelic collision which results in a fat, thick sound. Instantly wooed by John Gosling’s enchanting vocals, it’s a drifting yet compelling start to an album that should appeal to all who worship the riff. I’ve read comparisons with Ozzy, but for me Gosling has a much wider range. There are hints of Rival Sons frontman Jay Buchannan and Andrew Stockdale (Wolfmother) amongst a myriad of influences. It’s evident that the London outfit are honing their sound with hard work and gigging. Their socials are full of events that the band have played, and it’s evident in their sweet interplay which breaks through the riff smog they create. They play an easy style that shifts gears with a comfortable no-nonsense style. In Grey is case in point. A delicious drift that suddenly bursts into life with a sweet, Zeppelin feel to it’s crescendo (think Babe, I’m Gonna Leave You). 

There’s a Muse like approach to Middle of the End, with its cool keyboard introduction and overall swagger, whilst the psychedelic echo of Pulling Daisies throws us all in a different direction. It’s the changes in tempo and movement that make this far from your average riff-heavy stoner groove release. The whole band are on point, the music coming at you in short blasts, with only the final two songs longer than five minutes in length. They do save some of their best work until the end though, with the expansive Fear Before the Fall a masterful and dramatic unfolding piece of work. Whilst they don’t hide their influences in any way, there’s something endearing and contemporary about The Lunar Effect. Sounds of Green & Blue doesn’t over complicate but focuses on quality from start to finish. A sterling effort indeed.

Sounds of Blue & Green is released on 12th April on Svart Records. 

Review by Hutch.

EP Review: War Grave - War Grave

My love for the extreme vocal, blast beats, and Satanic riff has in no way diminished my love for the more clean old school heavy metal style I grew up with. As with all styles, it must be done well though. Fortunately, War Grave do the latter well. 

Recorded at London’s Monolith Studios, producer Charlie Wilson Jnr. has managed to capture five metal tracks to pump the blood and shake your world. The clean powerful vocal talents of Roman Kantoch (ex-More) shine on this release. He is a singer forged from vocalists of former times. Perfectly sitting with the musical styles of guitarists Trent Powell and Stuart Layne (ex-Virus), while the talents of the foundation laying Steve Brill on drums and bass player Charlie Gossett hold everything together.

The opening track War Graves has the style and swagger of denim-clad metal with more than a hint of old-school thrash at its heart. Fast and precise Brill’s drumming is commanding. A sudden time shift shows the musical skill and song writing expertise, that these guys clearly have, to not make this shift jarring. Guitar solos reign, supported by riffs all the way. This initial track lets the listener know what is to come. 

More traditional metal flows through the speakers with the second number Enchained once more with head-bobbing riffs and clean vocals in a cleaner guitar tone. The band are joined by Tim “Ripper” Owens on a tale of magic, manipulation, and a soul in peril, for the single Witch. Tim’s vocal approach obviously fits this style perfectly with a massive “Yeeeeeaaaa” his voice never fails to impress. Both create a perfect blend. More metal riffing carries this release through Revenge once more displaying clever time changes that just feel right. A dual guitar tone (one I love) opens the door to the final track Price to Pay. Again, the metal style and groove gets the head moving up and down and the fingers on your hand forming the devil’s horns to be raised high at a live performance. Something I am looking forward to experiencing at the Moshing the Roof On festival in Derby on the 13th of April.

War Grave is released on 26th April 2024. 

War Grave Socials

Review by Thrashtash Bolton