ALBUM REVIEW: Cobra the Impaler - Karma Collision

I am going into the relative unknown with the Belgian group, Cobra the Impaler. I am familiar with Tace De (Thijs de Cloedt) from his work on guitar with Aborted from 2000-2006, but I have only heard The Messenger from this band, which is the lead single from the forthcoming album, Karma Collision. Tace is joined on guitar by James Falck (Bear), Michele De Feudis on bass, vocalist Manuel Remmerie, and picking up the sticks from Megadeth man Dirk Vereuren (who played on the 2022 debut, Colossal Gods) is Ace Zec (mixer and producer, and former drummer with Death before Disco). The album opener, Magnetic Hex, sets the tone of this progressive metal release. The initial discordant intro develops melodically, and clean vocals have some good layering on them. The tempo increases in the middle of the track, but does so well, and as the song returns to its original form, there is a lovely solo. This is the theme throughout the album.

Godless Beyonder, the second track, builds on the first, with more hooky riffs and vocals. The vocal towards the end of the track is great, with two different melodies sung over each other. Season of the Savage introduces some timing changes that really work. A great rousing chorus has a subtle slow double kick, which punctuates it. This goes to double time on the second round and lifts the track further. The fourth track, Eye of the Storm, is a prelude to the next, and really slows things down with a melodic acoustic number before opening up the throttle on the title track Karma Collision, which comes straight out of the traps, with discordant melody and timing changes, and a great vocal hook. Harmonies galore on this one, and some nice plucked sustained guitar. Six and a half minutes fly by. 

My Inferno begins in their usual inharmonious style, almost grunge-like Nirvana from Bleach, and carries on until the chorus takes the song in a more melodious direction. The metalcore vocals are rife in this track at times, as is the genre's guitar style. Seventh track, The Fountain, begins with a false intro, with so good fills, before the timing and tempo changes. The chorus makes this song. A slower, plucked distorted guitar with clean singing over the top. It is almost like a ballad at this point, and a good radio track, but don't tar it with the same brush as the overplayed radio friendly Nothing Else Matters. It then goes down a musical journey after the second chorus, where is gets heavy. Think System of a Down Sugar heaviness and goes back into an instrumental of the chorus to mix it back up, with some 'la-las' in the background. The last chorus' refrain slightly changes but it is effective adding more to the song, which ends with a solo, and the aforementioned vocal layers over simple keys. Yes, I might really like this track. The single, The Message, explodes out of the starting blocks, with great flowing vocals (layering of highs and lows is exquisite) and a wall of guitars. Good use of lead guitar over the vocal in the chorus. The interlude with the tom fills is great. The wall of guitars gets bigger towards the end middle eight of the track and will make you bang your head with that kick drum beating away. 

Penultimate track, Assassins of the Vision, starts like an SOAD track, which is not a bad thing as I love SOAD. Here, the bass does come to the forefront, and the contrast in vocal style in sections and across sections is used to its fullest. Some great chugging and tremolo picking here, and even the 'woe hoes' and fade do not detract from this. The closer, Shifting Sands, is an accumulation of what has gone before, and a fitting crescendo. In summary, I like the mix, and the toms really stand out, though the metal work could be more prevalent at times. The bass is there but doesn't ring out as much as I'd like it to. Guitars are clear, and big at times, and the harmonies on the vocals are so good. It is a sonic onslaught at times, with hints of Mastodon and System of a Down, but made in their own style.

Karma Collision is released on 31st May on Listenable Records

Review by Rich 'Tricky' Hudson

ALBUM REVIEW: Boneripper - World Ablaze

Hardcore metallers Boneripper, from Harlingen in the Netherlands, release their follow up to EP Vengeance & Forgiveness, their debut album World Ablaze. Short, sharp, fast, and very aggressive, this is my type of album. Average track length is two and a half minutes of brutal hardcore laden brutality. The band is made up of members of well-established bands from the Dutch hardcore scene, including former and current members of Manu Armata, 13Steps and Bladecrusher. Notably, three of the five bandmates are blood brothers — the Glashouwer trio, consisting of WD, Jeljer, and Kees-Jan. Their sound is polished and well honed. 

The opener, Final Warning, is a short instrumental track with recorded spoken word over the top, which slides in to the second track. The Abyss speeds along with brutal guitars, pounding drums and angry vocals. There are obvious influences of Hatebreed, Biohazard etc, but this is a good thing as they have taken the best bits and made them their own. The album runs along nicely with the next track Desolated bouncing with a definite 90’s feel. As the songs are short the album moves along at a real pace. As most modern crossover bands tend to stretch out their songs to four or five minutes, its quite refreshing to get an album of fast furious brutality. 

 The songs are a little bit repetitive but as they are so quick it doesn’t detract from the flow and pace of the album. The album carries on in a similar vein, with their brutal songs covering modern subjects from mental health and climate change. Another quiet instrumental in the middle provides a short period of relief before they kick back in with my favourite track Xenophobic which is reminiscent of the 90’s hardcore I was obsessed with at the time. 

 Overall, I really like this album. I can’t wait to be in the pit watching these boys live In the near future. Speeding through ten songs in slightly over 20 minutes makes this the right way to do hardcore: fast, furious, and with no compromise.

World Ablaze was released on 24th May and should also be available on all social media outlets. 

Review by John Caffrey

LIVE REVIEW: A Night of Ruin - The Underground, Bradford 10th May 2024

It’s always a good sign when you finish work on a Friday, travel to another city to meet some friends, walk into the venue, get yourself a pint, and the first band walks onto stage. Perfect timing you may say. 

Black Falcon 100524 The Underground, Bradford  Photo: Neil Bolton

Night of Ruin is the Friday night pre-show before the full day Ruination Festival that takes place at The Underground in Bradford. Black Falcon is the first band and they make a good impression. This four-piece have a good crunchy sound with tunes bursting with Les Paul guitar solos. I am not sure, but I think this band today has a smaller member count than usual. You would not know it from the heavy sound they create and the response from the healthy crowd. Their music and stagecraft are a perfect start to the evening. 

Damn Craters slower more melancholic take on the stoner genre are next on stage. The vocalist is prominent in this music and has a capable and angry voice. He is however, dressed like Johnny Depp in Charlie and the Chocolate Factory about to make a trip to the pool on holiday. They have a slight Deftones feel to their music. Their latest single Those Other Fools appears early in their set and fits in well with their earlier offerings. They go down well, despite the quizzical faces concerning the singer’s attire. 

Sloth Metropolis 100524 The Underground, Bradford Photo: Neil Bolton

Sloth Metropolis come forth, and the first of several questions enter my brain, the first being WTF? Several gentlemen including an electric violin are in front of me, mainly wearing colourful smocks. The violinist begins to shred this instrument like a thrash metal warrior. How the hell am I supposed to explain the music to you? I can’t, it is expertly performed, and entertaining though. This leads me to the other questions I have. Am I watching performance art? Yes! Do I like performance art? No! Am I enjoying this? Yes! In fact my feet are firmly secured to the floor of The Underground. I am transfixed. Our masked vocalist now appears as, I think, a middle-class teacher, and the show continues. The musicianship is excellent and the show is mad. I can’t tell you what I watched, but I can say I enjoyed it. 

Wolves in Winter 100524 The Underground, Bradford Photo: Neil Bolton

Wolves in Winter bring some kind of normality to this celebration of stoner doom music, and they do this well. I notice the powerful vocals of singer Jake are a little lost in the live mix but their emotionally charged sludge fills the room effectively. Tracks from the excellent album The Calling Quiet fill the venue and pour onto an appreciative crowd. With members of Iron Rat in this band performing a day early, a big doomy authority is evident tonight. Heavy slow riffs cause heads to bob and applause to reign. This music is so solid you can get hold of it, and the vocal talent on show is intoxicating. It's a magnificent set. 

Morag Tong 100524 The Underground, Bradford Photo: Neil Bolton

Headliners Morag Tong bring this extra show to a close with their slower, bulky riffs. With a singing drummer, these guys display why they have been chosen to headline. This London band have the power and skills to warrant such a position. The vocals range from clean to growls, all sitting on a bed of intense heavy slow riffs. The heads that were bobbing earlier are still bobbing now, just to a slower beat. If the doom and gloom of the slower sludge music is your bag, you are in your element. They bring an excellent evening to a close. If this is the pre-show then it’s a wonderful indicator for the main event. Time for a Bradford kebab!

SINGLE REVIEW: In Which it Burns - Stand / To Those Who Wish Our End / Hatred in Disguise

A triple whammy from Haverfordwest’s premier thrashers In Which It Burns has dropped recently, the teasers from third album Terra Nullius. When main man Stretch got in touch to let me know, then it was a no-brainer to get onto the streaming services and check them out. For those who don’t know IWIB, these boys are some of the hardest working dudes around. Hamstrung by geography, they’ve been playing for the best part of a decade, releasing two albums, competing in various competitions including Metal to the Masses where they regularly feature as finalists, as well as travelling across the UK to deliver their groove metal. Three singles in a curled-up fist, and the first of these is the more melodic. Stand retains all the savagery that we’ve come to expect from IWIB, razor sharp guitar work, bruising drumming, and Stretch’s snarling vocals. Lyrically, it’s about as brutal as they come, with plenty of expletives ensuring that the band won’t be played on mainstream radio … ever! But there lurks some cleans on the chorus, and that provides the melody that admittedly lurks underneath. A fiery song of defiance, the production is solid, certainly better than some of their previous offerings, and the groove hits hard. Well worth a listen.

In which It Burns at Fuel Rock Club, Cardiff. Photo: Hutchie224

IWIB aren’t going to bring you a love song anytime soon, and To Those Who Wish Our End certainly won’t be one to play at the end of a wedding. Although maybe it would clear out those hanging on for My Way! Once more the band’s trademark aggression is up front and centre, visceral vocals and a chugging riff explode into your face, with frantic drumming that anchors the song. I’ll admit that Stretch’s vocals are still a bit of a marmite mix for me, sometimes they work particularly well, but there’s a little bit of overload here which I struggled with until a burst of clean singing which breaks into a fine section of slower, thoughtful melody, before the big guns kick back in to drive the song home. A bonus in this review is the latest single, Hatred in Disguise, which arrived very recently. It’s got a familiar IWIB flavour, with some excellent lead work from long-time member Steve Flynn leading into the body of the song. Once again, the vocals are a little challenging, but underneath there’s a mighty track, with a decision to slow things down making it one of the heaviest numbers that IWIB have written. A distinct change of style works well, with the tempo allowing room for the song to breathe. Three singles to whet the appetite then, and with the prospect of the new album close by, it’s well worth keeping a watch on this four-piece.

In which It Burns at Fuel Rock Club, Cardiff. Photo: Hutchie224

Review by Hutch

Find out more at In Which It Burns

ALBUM REVIEW: Evil Dead - Toxic Grace

We all remember the fantastic album covers of Evil Dead. Perhaps some of us remember the album covers more than the music itself. Nevertheless, this is a thrash band that has been around for a long time (with a 20 plus year hiatus in the middle; this is not their first rodeo). However, the songs on Toxic Grace are not going to stop the fans from calling out the classic 80s and 90s material at Evil Dead shows. As a hardened thrash fan, as I listened, I accepted some truths about this album. I accepted that Evil Dead are a safe pair of hands when it comes to modern day thrash. Admittedly, this may not be interpreted as the nicest thing to say about a band. It's far from a compliment but at the same time, on almost every occasion, you’ll prefer a safe pair of hands to a complete numpty at the steering wheel. I accepted readily enough that most of the guitar riffs on here were very Slayer-esque. A hard chug, followed by some noodling on the higher notes before going back for a bit more chug. I found it a bit routine, but the quality was not at all bad. I also comfortably accepted that the vocals were either sung in the key of talking or had that megaphone distortion sound to cover up some cracks. And everyone above a certain age will know that singing thrash metal is extremely hard to do at any age, let alone when progressing in years. Despite all these things, I am happily willing to grant a thrash metal hall pass for Evil Dead. For all intents and purposes, Slayer are no more, (for now, despite the quick buck reformation shows) and we need someone to fill in. And yet, I don't think there are too many newer fans who will be as forgiving as me. 

Once you get into the album, you’ll find that Evil Dead generally stick with what they know, with a cross between mid-tempo to fast tracks throughout this album. There is also one ballad type song on here, which is probably as you would expect. Highlights are few and far between, mainly because the thrash on display here is extremely consistent. Opening track F.A.F.O. (Fuck Around and Find Out) is a mid-rhythmic thrasher. That's quickly followed by Reverie, a fast one with a slower chorus and those fuzzy vocals. And so, the album progress in a similar vain. It’s a bit formulaic. This is not a clever album although were Evil Dead ever a clever type of thrash band? It's in part a little bit uninspiring and too literal. I found it lacks inspiration and I asked whether this is likely to influence the next generation. Live is always a different matter because thrash metal is always ten times better under the lights and with it pulsing in your face. For me, I’m afraid that with Toxic Grace, Evil Dead may have just played on the safe side a little too much.

Toxic Grace is released on 24th May on Steamhammer/SPV
Review by Carl Black - our first guest on the podcast.

SINGLE REVIEW: Painted as Monsters - The Signal of / Sevastapol

South Wales trio Painted as Monsters have been steadily building and audience through the last few years. Building on the success of previous bands, PAM have gigged hard, made the latter stages of the South Wales M2TM competitions, and generally mesmerised with the expansive and fluid style. Dripping in influences that surely include Muse, Tool, Godsticks, Rush, and shoegaze, their progressive signwriting makes it a cerebral joy to experience. Rhys Evans has a voice ideal for this melancholic, dreamy style, whilst his guitar work is super relaxed. On this EP Evans is backed by bassist Chris Machin who has now departed, and drummer Matt Jones. First up is the sprawling expanse of The Signal of …, and it’s a real technical piece that requires multiple plays to appreciate. Once you get stuck into it, it’s an addictive earworm that demonstrates the fluidity of the musicianship on display. One can’t help but admire the mid-section guitar work, and the power that this trio generate. Full of atmosphere, it’s a fine piece of work. 

Second song is Sevastapol, and it opens with a sweeping passage that segues neatly from the previous track. Shimmering guitar work is again a highlight whilst the rolling flow of the track combined with Evans’ soaring vocals works well. The tempo eases mid-section, but there’s always the brooding vibe that suggests that something strong is going to happen, such is the tension that the band create. It’s not long in coming, with another intense passage that sucks you in. As it develops, you can hear the organic flow of the band’s writing, and despite the inevitable Muse comparisons, there’s enough here to ensure attention is maintained throughout. With a new bassist on the way, the future is looking good for Painted as Monsters. We wish them well, for they have much to bring to the alternative scene.

The Signal of ... / Sevastapol is released on 31st May

Find out more about the band at Painted as Monsters

Review by Hutch

ALBUM REVIEW: GURT - Satan Etc.

Party Doom- two words you would rarely put together, but this is how London Based GURT describe themselves, and if this is their idea of a party, get me an invite. Formed in 2010, and after a slew of EP's, and coming five years after their last album Bongs of Praise they deliver album number four Satan Etc. It’s a more aggressive and abrasive album than they have produced before. Some of this is due to issues in various members lives (tragic losses, welcoming new arrivals to the family), as well as the events of 2020. So, the songs became shorter and punchier, but the topics on offer remain interesting, ranging from botched vasectomy, the love of brown cars, self-pleasure on Arrakis and the singer’s love for his children.

GURT - Photo by Mithun Shah

So, to the music. The guitars, courtesy of Rich Williams, are crushingly Doom in sections, but always have a great underlying riff, often quite bluesy but squarely grounded in the seventies sounds of Sabbath et al. The vocals of Gareth Kelly are often a gargled scream which is hard to understand, at times almost feral, and they work well with the music, whilst the rhythm section (David Blakemore on bass and Bill Jacobs on drums) give a very solid grounding to the rest of the band. Over the 40 minutes we get nine songs, the longest being six minutes and 11 seconds, but they never feel long as the music wanders through both fast and slow sections and is often quite experimental in places. I particularly liked Exit as You Enter and Sandworm Fleshlight, with their stop/start guitars and underlying bass line, but the central section of final track Electric Brown is a sublime instrumental section. I had never heard of GURT before this, I will be rectifying this now though, with a deep dive into their back catalogue coming soon.

Satan Etc is released on 7th June on When Planets Collide on 7th June

Review by Andrew Matthews 

ALBUM REVIEW: Elvellon - Ascending in Synergy

Symphonic metal. It’s a genre that many sniff at. Over the top and overblown, with the dramatic elements that synch with Eurovision and musicals. But dig below the

surface, and you’ll find a multitude of, admittedly mainly European bands, who provide a huge range of uplifting songs, delivered with a quality of which many of their more extreme relatives can only dream about. 

Germans Elvellon are well into their career, having formed in 2010 and released their first album Until Dawn back in 2018. Now signed to Napalm Records, this is an outfit who are apparently making a few waves in the scene. Now, it’s a scene that rarely even ripples in the UK, but they have some clout, with over a million views for their song Born from Hope and double that number of streams on Spotify for the same song. Ascending in Synergy sounds like the kind of management buzz words that I despise but which have been prevalent in far too many meetings I’ve had the displeasure of attending over the past decade. It couldn’t be much more irritating if it was called ‘thinking outside of the box’. 

But, having moved on past the album title, what lies beneath is ten tracks of dynamic, soaring symphonic metal led by the Nele Messerschmidt whose range is on a par with the top level of singers in this field. The flowing orchestral arrangements work on every level, from the opening song Unbound with its vibrant drama, to the cinematic The Aftermath of Life which flows with a dynamic and organic style. 

Elvellon - photo credit Paul Epp

Last of Our Kind takes a darker turn, dripping with emotion and atmosphere, proving once more that if you do it well, then symphonic metal can pull at the heart strings as well as anything else. The combination of piano, synths, orchestral movements alongside the heavier riffs and drums works majestically, whilst the vocals are the icing on the cake. On most albums there lurks what could be called the ‘epic’ track, and Ascending in Synergy is no different. The nine-minute The Aeon Tree once again casts a cinematic light with its expansive approach, Nele’s stunning vocals and the stripped back nature of the track adding to the song. Yes, it’s not a heavy track, as is the case with several of the numbers here, but there is plenty to enjoy regardless. 

Embrace the delicious melodies and you’ll find Elvellon are one of the better bands within this saturated genre. Whether they can push their way up the ranks is debatable, but if you enjoy polished symphonic metal, then Ascending in Synergy is one for you to consider.

Ascending in Synergy is released on 17th May

Review by Hutch

EP REVIEW: Room 11 - We All Fall Down

Room 11 are a two-piece band from south London. Badged as an ‘eclectic power duo’, their debut EP We All Fall Down is a five-track blues rock explosion with an undercurrent of electronic sound. By all accounts this is a band who are very much in the ascendency, with producer Dave Draper (Nickelback, Terrorvision and The Wildhearts) on board, and the band having featured on BBC1 Introducing, Planet Rock, KROQ Radio and more. 

The duo had this to say. "We decided to step out of London, as Luca Volpe (who played drums on two of the EP’s tracks) suggested we work with producer Dave Draper. Dave turned out to be perfect for our sound, understanding exactly what we were aiming for and capturing our energy on the recording, brilliantly - He is a magician, and we love him!” 

The opener Man on a Mission opens with a pounding riff from guitarist Robbie Pinnetto reminiscent of Wolfmother and The Black Keys. Chrisy Finn’s vocals come in with a slightly distorted tinge, and they sound great against the driving drum loop and wailing blues guitar. The tracks continue in this vein throughout the record, All She Wants and Black Fly bring massive drums and riffs aplenty, with the duo’s influences pinned to their selves. There are hints of Queens of the Stone Age and early Arctic Monkeys in their sound, combined with elements of Idles and The Strokes. It’s a heady mix. 

My favourite song is the title track We All Fall Down. It has a great riff, like a beefed-up My Sharona and vocals like Eric Davidson from one of my favourite bands New Bomb Turks. It’s a pounding blues-based track that sounds fresh but is reminiscent of a well-loved song from the past. Recorded almost a year ago in Pershore, near Birmingham, this is an album that our man John really enjoyed. “Overall, I love this release and can’t wait to see them live", he commented.

We All Fall Down is out now. More info at Room 11 Official

Review by John Caffrey 

ALBUM REVIEW: Unleash the Archers - Phantoma

Futuristic power metal from Canada. Yep, they’ve been around for nearly two decades, and in that time Unleash the Archers have moved from unknowns to a band that this year will comfortably slot into a mid-afternoon slot at Bloodstock Open Air. I’ll admit, I’m not overly familiar with their music, but minutes into opening song Human Era and I’m liking what I hear. I’m partial to a bit of power metal if done well, and if the vocals are as strong as they are here, with Brittney Slayes powerful delivery, then I’m in. 

Photo credit: Shimon Karmel

Conceptually crafted in 2021, Phantoma tackles the advance of AI through a story that runs through the album. It follows the protagonist Phantoma, a Phase 4 / Network Tier 0 unit - model A, and the trials of AI gaining sentience on a dystopian near-future planet Earth. Whilst the concept album isn’t always the favoured choice, in this case, the phenomenal playing that rip through the album in the various shapes and styles – we have progressive, modern metal, pop, and traditional heavy metal here, makes it a gripping listening experience. Focusing on the Sci-Fi and social commentary, Unleash the Archers utilised AI to aid their writing, filming, and production processes for Phantoma. A slippery slope perhaps, but the weaved electronic and synthwave elements that are wrapped through the album do provide an extra layer of depth which is disturbingly impressive. But move away from the controversy, and what you have here is an album that soars majestically, switching from pummelling heavy metal to symphonic and operatic elements. At times it’s progressive as hell, and yet in other parts, it’s pure power metal, as heard on Ph4/NT0mA which sees the duelling guitar work fly high above the powerful driven drumming. Slayes doesn’t miss a beat, her delivery measured from start to finish. It’s the kind of song that can cross boundaries, appealing to more than the usual power metal fan, and that can only be a good thing. There is a definite synth element that underpins it all, whether it be some dramatic bursts or more understated layers. However you listen, there’s plenty to indulge in. 

From the more traditional metal style of Buried in Code, the early single Green & Glass which rattles along at high level speed, Unleash the Archers paint a bleak environment but with hope always evident. Unsurprisingly, there’s a ballad, and it’s a biggie. Seven-minutes plus, Give it Up or Give it All allows Slayes to hit the emotional heights, providing variation to the band’s songwriting, whilst it would not be over the top to reference the husky tones of Heart’s Ann Wilson as a comparison. Phantoma is quite the voyage. I’ll admit, I need to give this album more time to really do it justice. But I’ll content myself with one final track, the majestic Blood Empress, a bittersweet tale that brings this release to a fitting conclusion. With an excellent mix and mastering by Jacob Hansen, and production from lead guitarist and songwriter Andrew Kingsley, Phantoma is another album of which Unleash the Archers can be rightly proud.

Phantoma is released on 10th May on Napalm Records

Review by Hutch - @hutchie224

LIVE REVIEW: Red Method / Foetal Juice - The Ferret, Preston 3rd May 2024

There is no better way of spending the Friday night of a bank holiday weekend than going over to the Ferret in Preston to see a few bands. Tonight, its’ a double header with Foetal Juice and Red Method bringing their wares. 

First up Foetal Juice, the Oldham based band known for their outrageous song titles and extreme death metal style. The opener Dutch Oven sets out their stall straight away. Fast, furious speed/crossover punk-based metal. Lots of influences from 80s / 90s cross over bands like Crumbsuckers, D.R.I., Broken Bones etc. with brutal death metal vocals. This is right up my street as this is what got me into metal in the 80s, Typical Viz or gore-soaked lyrics, Foetal Juice’s songs include the glorious Take Your Face for A Shit, Noneckahedron and Mountain of Gore, demonstrating that British metal still has a sense of humour. 

Lead singer Dez prowls the stage, growling out his humour or horror-soaked lyrics whilst bass player Lewis bounces around throwing out slabs of rhythm in conjunction with the ferocious drums of Rob, whilst guitarist Ry is constantly shredding his thrash style riffage. Although the between song banter needs some work, I really warmed to this band, and will seek them out in the future.

Next up Headline band Red Method, a band I saw at Bloodstock a few years ago. I really enjoyed them so when I saw they were playing just up the road thought it would be rude not to pop along and support them. Despite the lengthy set up and sound check, once they kicked off their set with Messiah the crowd was quickly bouncing. 

They have the obvious influences of Slipknot, Fear Factory etc, but Red Method have managed to establish their own sound. Lead singer Solomon J is a great front man, his vocals ranging seamlessly between clear and death grunts. Their industrial metal style works really well in a small venue, although the size of the drummer’s kit restricts the rest of the band’s movement on the Ferret’s tiny stage. A slightly challenging mix at the start makes their sound a bit muddy in places, but this improves as the set progresses. Only one new track is played and that is All for One, which sounds good and sits well amongst there others. Highlights for me include Cycle of Violence, My Psychosis, and the crowd pleasing Limp Bizkit style, Counting Corpses. The crowd seemed to respond positively to the band, but technical problems, and sound issues detracted from their performance. I still enjoyed the band overall and look forward to seeing them again. 

As always, this was an excellent night with the venue, friendly staff and regulars all contributing All small venues need the support, and for me, it’s places like this which are still the best place to see live music.

Review and photos by John Caffrey

Foetal Juice

Red Method

The Ferret

ALBUM REVIEW: Riot V - Mean Streets

Riot are a band that passed me by. I do know of them and vaguely remember flashes of them on the Friday and Saturday Rock Shows on Radio 1 in the UK, when Tommy Vance and Alan 'Fluff' Freeman were introducing me to the world of metal. I think it was their 6th album, Thundersteel, and the title track that I remember, but by then I was going down to hell in the form of thrash and death metal and was done with the more traditional form. 

Founded in New York City in 1975 (the year I was born) by guitarist Mark Reale and drummer Peter Bitelli. Riot have disbanded and reformed twice. The second disbandment was due to the death of Reale. On the band’s second incarnation, they changed their name to Riot V. The 'V' was due to the addition of a fifth member. A heavy metal band that started towards the power metal side with the release of Thundersteel, the latest line-up consists of long standers Donnie Van Stavern (bass, since 1986), Mike Flyntz (guitar, since 1989), Frank Gilchrist (drums, 2003), and newcomers Todd Michael Hall (vocals), and Nick Lee (guitar). 

On to the music. In truth, this did not grab me at first. A 13-year-old would have lapped this up, but I was just hearing cliched rhymes and cheesy lyrics. Then on the second, and third listen, it clicked. This is unapologetic metal. It is old school. Cliches don’t matter, I was singing along to hooky chorus, and interestingly phrased verses, regardless of the subject matter. “Blasphemers! Idolaters! For this, you shall drink waters… God has set before you this day his laws of life, and good, and death …”, so opens the album Mean Streets, that will hit our streets on 10th May, with the track Hail to the Warriors. A lovely acoustic intro with this portion of speech from Charlton Heston’s Moses in The Ten Commandments, placed over it. Then into the power metal, and some pretty good operatic vocals, which are nice to hear in the day and age of the cookie monster and the squeal. 

These guys can riff and chug. There are elements of power, trad, thrash, and speed metal all over this album. Some great dual great work, which will always make me happy, and a tight, complimentary rhythm section with the bass and drums keeping the foundations there. The solos truly add to the tracks in all cases, never too showy to be the highlight, but never in the background. There are some cringy bits, like the start of the second track, Feel the Fire, and some of the lyrics in Love Beyond the Grave (yes, I know, right?), but once you realise it is yourself that is the problem and just go with the music and have some fun, which is what it’s all about, no? Then this Riot V album is pretty good. High Noon is a high-octane affair, with a great intro, and who doesn’t love a good cowboy film with a showdown. 

                            Riot V - photo by Tom Flynn
Next is Before This Time, which has a certain swagger about it, and I shouldn’t like this track, but I do. It’s almost a Europe-esque poppy affair, but I love it. Seem to have a phrasing in it like the Marti Webb Take That Look Off Your Face (guilty pleasure, it’s a great track), and the change in key. ‘Higher’, my favourite track, has a sci-fi feel to the intro, like it could be Blakes Seven or such. Love the dual guitar and the progression on this so much. Then the main riff comes in with Aces High speed.

The title track is probably where the trite lyrics and hackneyed phrases come to the fore-front, but it works and has great sing-along value is never in doubt. A great little bridge into the solo, too. Next track Open Road also suffers from this, and the transition from verse to chorus is a little clunky, the only one like this I feel, as all other tracks flow between sections. A great piano bass intro for the start of Mortal Eyes, very reminiscent of Lone Justice by Anthrax, even when the guitars come in, I can hear the similarities. And another infectious hooky chorus. Lost Dreams, has some mid-80s Maiden vibes (Back in the Village???), and I’m taken in, again. Lovely guitar work and a great rousing chorus you can’t help but want to sing to. Penultimate track is Lean into It, has kind of a generic riff, that again, is infectious and sucks you in. Not taken by the refrain or the lyrics to it, but again I want to sing it! The finale, No More, aptly named as the last track, sets off at a great speed, with some lovely dual guitar work, again. The drums and bass then drive whilst guitars take a backseat, the bridge sets it up for an anthemic chorus. A great song to finish on. 

Production wise, everything is there in its space. I’d personally like a bit more of a ring to the bass, and at times there is a bit of rumble in the kick drum (Might be that I only listened on my headphones/earbuds and monitors though, not on a proper system, and could be the file form. Would love to give it a vinyl listen!), but all in all it’s great. As said before I do miss a bit of singing, and that sounds great. In summary, this ticks the boxes for my teenager self, and my 49-year-old self after I put my bias aside and decide to have some fun.

Mean Streets is out on Atomic Fire Records on 10th May

Review by Rich 'Tricky' Hudson