ALBUM REVIEW: Madicide - Madicide

This debut has been a long time coming. Formed in 2011, Madicide's self-titled album is the Welsh outfit's first full length release, despite them being well-known for frantic live performances in the South Wales metal scene and having headlined shows across the UK. Although they had a hiatus between 2015 and 2021, the band have returned and this album contains tracks written during their first stint, which have been revitalised, and new tracks since reforming. I have heard of them as they are fellow Moshin' the Roof on alumni with my own Heavy Claw solo project, having put out Carnivore Incarnate on MTRO 3. 

Madicide kicks off with Nicotine Love (the second single, released in June), and a soft acoustic intro with spoken, almost telephone effect vocals, before going into a mid-paced groove. The chorus discards the effect, and a more traditional late-80s vocal replaces it. I like the groove, but I'm not sure it is a track that I'd start my debut album with. It also has a fade out, which I'm not sure is a good idea. My preferences apart, we move on to The Pit and the Pendulum, an homage to Edgar Allan Poe's work. It’s a more upbeat affair, with some blistering riffs to get you fired up and some well used vocal effects on this one. The only down point is the guitar squeal on the chorus, which started to grate a little, as does the repeat of "the pendulum, pendulum". 

Ozymandius starts with a slower chug but has a great increase in tempo in the chorus. This is one of the tracks that reminds of late-80s thrash and has Death Angel tinges to it. A nice quickening and double kick section in the middle really lifts the song. Killing Machine, with its eight seconds of quick, false acoustic intro, then melts your face with riffage, although there are a few clunky section changes. The tempo slows again for the start of King In Yellow, but it quickens nicely after the 50 second mark. This is a near seven-minute opus, a rollercoaster of a track, with tempo and timing changes, dirty and clean guitars, and a ringing bass. The middle section is impressive and is reminiscent of Acid Reign's longer songs. 

Trapped In Purgatory, sees the return of vocal effects in part, and they are used well. A foot tapping, head nodder, with some good moments when the dynamics change in this one; guitars and bass drop out, leaving the drums; guitar and bass driving, and drums taking a back seat. A good chugging section comes at the end. It’s followed by the seventh song, Into the Dark, which has a harsh razor like riff to start and then the introduces the heaviness, and a touch of flanger on the vocal give some colour. A gallop comes in the mid-section (who doesn't like a gallop?), followed be a solo which makes me think of Kirk Hammett on the Black album. Into Tommy Knockers, which is the first single that was released last year, and my favourite track off the album. This one does remind me of Death Angel, and the vocal from Ceri Roberts does have that hint of Mark Osegueda about it. You can't go wrong with a song based on a Stephen King book in my opinion. The Bonus track is Death March, which was recorded before this album and has been remastered for it, and you can tell engineering wise, and musically. Whilst the fundamentals are there, this is the poorest track off the album. There is a slight Jump in the Fire to the first riff, which I love, but then I don't really get on with the rest of the track. Seemed like a bit of a mish mash, but it is a bonus track.

All in all, ... I like it. It has a lot of the things that I love about that late-80s/early-90s thrash in there. I like Ceri's vocal, which isn't too harsh and has some of that old school vibe. The riffing and interplay between him and Ian Woofe are good, as well as Ian's solos being non-flashy and complimentary to the songs. Josh Bevan has a good bass tone and I like his touches and runs. The drums from Jack Williams sound good and drive the music along. I wasn't sold on the production at first. I thought it was a bit like And Justice for All but with the bass, but after a few listens, it bedded in a bit. I'm looking forward to hearing more from the boys from Neath and will be looking out for them at a live show, if they venture to the Big Smoke.

Madicide is released on 5th July with a launch party at Hippos in Swansea

Review by Rich 'Tricky' Hudson

Live photos - Hutch

ALBUM REVIEW: Regicide - Resist Control

Not to be confused with the plethora of bands sharing the same moniker (from China, Germany, the Netherlands, Cyprus, Poland, New Mexico (USA), India, Russia and Switzerland), we get Chelmsford’s Regicide, and if you like new British thrash, you are sure to have heard the name! 

Formed in 2020, the band have so far released four singles and an ep, now they deliver their debut album Resist Control, and its a bit of a bruiser! Beginning with the aptly named Intro, we get the background sounds of war, air raid sirens, gunshots, etc, before leading into One By One, which starts with a groovy, chuggy riff, underpinned with some solid drums. The vocals of Niall Byrne (also guitar), when they come in, are guttural, if higher in pitch than I expected, but once you get used to them, they suit the music. This is followed by You Ain’t Nobody, which is a more thrashy number, with a guitar motif reminiscent of a speeded-up AC/DC, a chanty chorus and a nice chugging part ¾ of the way through. 

Suppression follows, beginning with a superb bit of heavy bass, thanks to Josh Birch, followed by an almost bluesy bit of guitar which mutates into a beautiful main riff with a great breakdown, the kick drums of Jordan Maze really come through here, pounding like Tyson Fury in a grudge match, another breakdown, again ¾ of the way through, leads into another bluesy section, that fades out to the end. This is a personal highlight. Next up comes title track Resist Control, with another slow start, before a crushing thrash section, which again returns to the chugging main riff. Disposable Crown is another full-on thrasher, with some magnificent arpeggios at the end of the main riff, and finally a solo from lead guitarist Mike Davies, and its a belter, some really good blasts on the kick drums again, then as if a motif of the album, at the ¾ mark another breakdown and another solo, once again its a good one. 

The single Dying to Be Liked is up next, and with a really pounding start from the drums and a solo that is impeccable, it’s followed by a deeper, more guttural vocal, especially in the chorus, it’s bordering on death metal. The penultimate track is Unified Strength, another mid tempo chugger, and the motif of the breakdown at the ¾ mark. The finale of Run Your Mouth starts slowly, but the kickers are soon bludgeoning you, and it really picks up the pace, the backing vocals stay almost death metal, but this slows for a wonderful, languid solo, then speeds to a hard-core breakdown, that brings the album, to a close, At just under 36-minutes, it won’t take up much of your day, but if you love a bit of groove thrash, this will be right up your street, I loved it, and can’t wait to catch these guys live soon.

Resist Control is released on 5th July 

Review by Andrew Matthews

Live photo - Hutch

ALBUM REVIEW: Orange Goblin - Science, Not Fiction

Orange Goblin are back, with Science, Not Fiction, an album we have been patiently waiting for since 2018’s The Wolf Bites Back. This is the first recording with Harry Armstrong on bass, although his many live performances with the band mean he is far from a Goblin virgin. 

The album starts with a Sci-Fi type throbbing that immediately opens your ears, before Harry slaps his bass into your face. Drums and guitar kick in and the familiar “Ahh Yea” of Ben Ward rings out - we are off with third single The Fire at the Centre of the Earth.  It’s perfect Orange Goblin, riffier goodness is all-encompassing, and it’s cool. The splendid guitar work and frenetic soloing of Joe Hoare makes the listener instantly want to pick up their air guitar and join in. The mood and style carry on into another single release, the powerful (Not) Rocket Science. 

It’s packed full of the familiar Orange Goblin that we know and love. A wonderful stoner riff leads through into this track, Ben’s vocal talent and style is perfectly placed in the mix of this album. He is the main focal point of the Orange Goblin live experience, but the band is always the main point of Orange Goblin. The song slows down as the dirty riffs crunch along, in true stoner doom fashion, but the energy never dwindles. A kind of psychedelic feel opens the track False Hope Diet adding variety to this metal album, but in my opinion, Orange Goblin has never been the one-trick pony that the ill-informed often state. There’s a horror film intro to Cemetery Rats. Armstrong’s bass once more provides the vibes while the guitar whirls around the atmosphere, creating a menacing sound. The riff then kicks in and we are off at full tempo once more. The Fury of a Patient Man (an excellent title for a track) ploughs straight in and the foot-tapping, head-bobbing tunes continue.

Gemini and The Justice Knife keep the atmosphere alive with excellent rock/metal vibes. There is no doubt that the transfer of these songs to the live setting should be incredible. I have seen many bands live, and I would suggest that Orange Goblin are one of the best at their craft. The final track, the aptly named Final Transmission is Orange Goblin encapsulated in one tune. It’s a well written song, pleasing in feel, and with more variation which adds to its overall delivery. Chris Turner’s laid-back and smooth drumming style fits this music perfectly. The throbbing that bookends the album returns, and the album concludes. There’s a good feeling after listening to Science, Not Fiction, and I am truly excited for some live shows. Orange Fuckin Goblin Baby are back!

Science, Not Fiction is released on 19th July via Peaceville Records

Review by Neil 'Thrashtash' Bolton

Harry Armstrong photo -  Hutch

Band photo - Tina Korhonen