SINGLE REVIEW: CC and The Devil's Pick - The End

Dark and evocative, The End is a new single by a man who I’m most used to seeing throwing shapes and churning out heavy metal riffage. Chris Charles is known to many for his work with Godsized and Blind River, but maybe less so for his work as CC and The Devil’s Pick. 

Having released a couple of tracks in 2023, which you can find on most streaming platforms, he’s now released the latest track, The End. A dark, brooding piece with some beautiful slide work, this is a melancholic and captivating song that sees his deep resonating vocals complemented by the atmospheric music that wouldn’t be out of place in a movie score. Think a Moody Western, Sons of Anarchy, or a disturbing gothic horror and you’ll get a feeling for where the man is going. It's a track that is both instant and a grower in terms of style. Whilst his musical ability is without challenge (check out the man’s resume), his vocals are something of a surprise. They are never forced, and present organically and natural. This means at times there’s a little wavering, but overall, they work in tangent with the tenure of the track.

It won’t work for all, but if you like a bit of gothic Americana with a sinister overtone, then CC and The Devil’s Pick is well worth checking out.

The End is out now 

Review by Hutch

ALBUM REVIEW: Bewitcher - Spell Shock

I think one of the best things about doing these reviews is listened to bands that I haven't heard in ages, or ones I didn't know about. Bewitcher are one of the latter. 

Formed in Portland, Oregon in 2013 by frontman/guitarist M von Bewitcher, and bass player A Magus (I'm going to hazard a guess at these being stage names/pseudonyms; I could be wrong) Spell Shock is their fourth full length album, following on from 2021's Cursed be thy Kingdom, 2019's Under the Witching Cross and, self-titled 2016 debut Bewitcher. They are joined this time by A. Hunter on drums, for their foray into hedonism, witchcraft, and, of course, evil. 

It's an effects ridden intro, like a storm brewing, which then launches into a fast-paced beat with the snare drum hammering, and NWOBHM riff ripping through, as Starfire Maelstrom kicks us off, with a soaring solo gives way to Fenriz like vocal. Riffs change but keep the same vein, until a slower groove in the middle akin to The Four Horsemen, which then gives way again to speedy riff for the solo and the final verse/chorus. 

A '1,2,3,4' quick cymbal count into a fast maidenesque guitar, and a driving bass brings us into Lavish Desecration. Crash cymbals dominate, and bring a waterfall of metal work. A slower chorus breaks the song up, before it gets hectic again. A melodic solo graces the middle eight, and the cymbal fills ring out. Lead motifs flourish around the end of the track, with nice touches on the cymbals again. The title track provides a groovier rhythmic palm muted alternate picking opening with simple bass and drums, before a couple of bars of riff only, a bass fill, and a Motörhead-like verse, but where the bass climbs higher up the fretboard for a more Steve Harris style low end. The chorus enters with a chanting backing vocal, which is used very infrequently through the album. It reverts to the intro for a few bars in the middle, before the main riff is recycled in a slower groove, and a melodic solo ensues, before it ramps up into a second faster paced solo, and final chorus. 

Out Against the Law is screamed out and we are straight into it. A track that musically made me think of early WASP, but also gave me a hint of a faster paced Fields of the Nephilim. I could feel a western gunfight coming on amongst the dust. These guys like to break things up with a slower part in the middle, but no matter how brief, then comes the shredding and lead guitar over the final chorus compliments it with the ending a classic NWOBHM style. This is the shortest track and probably my favourite track of the album. Next is Dystopic Demonolatry, beginning so fast that there would have to be a check for a false start; thrashy from the off. Again, there is a Fields of the Nephilim gothic groove feel to it. A change from the relentless rhythm gives the chorus a different feel, as does the bridge. The middle eight solo slows a bit for you to catch breath, before pounding you once more. 

Seasons of Foul Harvest has a bit of a different beat to it. A little more staccato, slower, with some key modulations, before it gets going. A few more chords are allowed to ring out in this track, and the sparsely used chanting vocal is back in the chorus and used to good effect. This one gets groovy in the middle, and this time there is a bit of singing over it instead of just solo. Transition to the verse from this is a bit clunky, and I think it goes on a little too long, but that's being picky. We Die in Dust is another slower number, oozing heaviness and bring the blues notes out in the riffs. There’s speed in the middle, and a definite Motörhead feel. The bass playing includes some good up runs in the interlude before the track slows to the final chorus and finish. 

The Harem Conspiracy is back to the old school riffs and dynamics, the bass thunders along in a non-complicated way, and the kick beats steadily, until it hits the double time part. A couple of verse and choruses, and the track slows, with some open chords ringing out amongst minimal bass and drums before the rhythm section engages and tribal style tom rolls come in, whilst MVB sings over them. A short and sweet shred solo gives way to the final chorus and rendition of the main riff. Pagan Shadows is an interlude, a bit of Americana, which is unexpected, but I don't hate it, and it provides a bit of acoustic respite with tambourine hidden inside. Ride of the Ironfox is a catchy number, with more backing chanting on the chorus. The bass is prevalent on this track and appears to be more dynamic than on other songs. The solo is good but does seem overly long before a fade out. A fuzzy bass fades in and then out, and I am left feeling cheated that a Burton-esque solo wasn't embarked upon before going into a final chorus. 

This album is influenced by many NWOBHM and early bands. You could make a bingo card for it. Motörhead, Iron Maiden, Venom are all there, but I sure can hear WASP, Darkthrone, and even Fields of the Nephilim. Riffs are delivered in classic style and whilst not ground-breaking, they are catchy for the most part. The bass is driving and not over complex, but it doesn't have to be as it forms a great foundation for the rest to work with. Sometimes the skank beat of the drums, particularly in the first track, could have some variation, though as the album progresses it does get a lot more interesting. The vocals, now these did take some getting used to. It was the well-produced music with the almost lo-fi reverb drench black metal stuff that put me off to start with. It isn't something I love, but I did get used to it (more than I ever have to Bonded by Blood, I know, I'm a philistine). They songs are a little formulaic with either fast, fast, slow, fast; or slow, slow, fast, slow; but that didn't bother me as it worked. The music is well mixed, with everything having its place. Guitars sound good, bass sounds as it should, and drums hammer through without being too in your face. I think there is a bit of sub build up in the kick when the fast doubles come in, and crashes are a little harsh, but mostly the metalwork rings. 

In summary, a modern riproarer that blasts along, pays homage to the past, but fizzles out in the last minute.

Spell Shock is out now via Century Media

Review by Rich 'Tricky' Hudson

LIVE REVIEW: Cannibal Corpse, Municipal Waste, Immolation and Schizophrenia - Bristol Beacon 25th September 2024

After spending a whopping £132 million on the renovation and refurbishment of the venue, many thought it was very brave of the Bristol Music Trust to allow death metal legends Cannibal Corpse to perform in the venue. Their shows have a reputation of being chaos and carnage, but thankfully with a generally well-behaved crowd, the venue hosted an absolutely stacked evening of death and thrash metal. 

Opening the show were Belgian death thrashers Schizophrenia. Taking the best parts of death metal and thrash metal and combining them together in a rifftastic killing machine, they recall bands from the late 80’s and early 90’s such as Sadus, Massacre, Solstice and Pestilence. With a stage time of 18:30 the room wasn’t heaving but it was respectfully full, and Schizophrenia unleashed a 30-minute barrage of death thrashing goodness with material taken from their 2022 album Recollections of The Insane and their two EPs. The biggest response came from their cover of Necrophiliac by the mighty Slayer which got a huge circle pit going. Unfortunately, the sound didn’t do the band any very muddy and echoey with the guitars quite buried. The performances, energy and enthusiasm were all there though. Hopefully the next time I see Schizophrenia it will be with a sound mix that demonstrates the full power of the band. 

Considering I have been a death metal fan nearly all my adult life, I have somehow continually managed to miss seeing New York death metal veterans Immolation perform live so tonight was the night my Immolation cherry was finally popped. Immolation have been going as long as Cannibal Corpse are a hugely influential and legendary band within death metal, though unlike Cannibal Corpse, this is not a straight up death metal attack but a far more atmospheric, technical, and dissonant take on the genre. There was still plenty of mosh pit action for the band, but this was a set that people observed and absorbed. From the riffs from guitarists Robert Vigna and Alex Bouks which twisted and meandered, the technical drumming onslaught from Steve Shalaty and the thunderous bass and earthshaking roars of Ross Dolan. 

With only a short set and eleven albums worth of material, the band did a fine job of mixing latter day material including songs from latest album Acts of God with older fan favourites such as Father, You’re Not a Father, and Into Everlasting Fire. A much-improved sound mix meant that the power of Immolation was fully unleashed onto the Bristol Beacon audience. 

It was time for a palette cleanser; after two bands playing very aggressive metal, we swapped for something a bit more on the fun side in the form of Virginia crossover thrashers Municipal Waste. Municipal Waste are still fast and aggressive, but their songs are more humorous with a party theme to them and bring the party Municipal Waste did indeed do. 

When they kicked off the set with The Executioner, things just sounded very off, with the thinnest of thin sounds and barely audible drums. Suddenly there were several crew members of stage scrabbling around in a panic trying to fix an obvious issue with the bass and the drums, which thankfully was very quickly rectified, and suddenly the full power of Municipal Waste came booming out of the PA. 

Frontman Tony Foresta quickly chided the crowd over having the smallest circle pit of the tour so far, and that rallying cry got all the moshers into action, with chaos ensuing from here-on. The venue security was pushed to their limits with the sheer onslaught of crowd surfers, especially during Wave Of Death, but they had obviously been briefed on what to expect beforehand, and handled the crowd with professionalism and friendliness. 

Municipal Waste missed no time and smashed through a whopping 19 songs of thrashing goodness with You’re Cut Off, Headbanger Face Rip and Sadistic Magician ensuring that the whole crowd was hyped up and in that thrash zone. The band finished off with their traditional set closer Born to Party with the band’s motto “Municipal Waste is going to fuck you up” roared back at the band by the crowd. After that blistering set of party thrash, the crowd were indeed fucked up. 

There are several things which are certain in life - taxes, death and the fact that a Cannibal Corpse show will be one of the most crushingly heavy things you will witness in your life. 

The death metal veterans have been bludgeoning and offending since 1988 and with sixteen albums they have perfected their style of straight up death metal to a fine artform. The band may only have two original members remaining (bassist Alex Webster and drummer Paul Mazurkiewicz) but their whole line up is a who’s who of death metal with the entire band being veterans of the US death metal scene from guitarist Rob Barrett (ex-Solstice, ex-Malevolent Creation) and Erik Rutan (Hate Eternal, ex-Morbid Angel, ex-Ripping Corpse) and they certainly know how to play a death metal show. George “Corpsegrinder” Fisher has become a figurehead in death metal known for his fearsome vocals, the thickest neck in metal and just being the most wholesome person in the genre. There were many chants of “respect the neck” from the crowd throughout the show and George showed why his upper body is 90% neck with some of the most insane headbanging and windmilling you can witness and which if emulated will result in the need of a neck brace. 

With this being the tour for last year’s Chaos Horrific album, a good chunk of the set was taken from there, as well as some of the band’s later albums especially in the first part of the set. As the set progressed, older songs including Death Walking Terror, Disposal of The Body and Pounded into Dust were fed into the setlist. It was in the latter half that some of the old school tunes arrived, including Fucked with A Knife (dedicated to all the women in attendance), Stripped, Raped and Strangled, and Staring Through the Eyes of The Dead which was played mostly as an instrumental with George disappearing off stage. He returned and finished the song explaining that “when nature calls, it calls” and that in his entire time with the band he has never shit himself on stage!! It appears he certainly came close this evening. 

Usually, a Cannibal Corpse show is nothing short of crazy with insane pits and crowd surfers galore but this time the crowd was a bit more subdued having probably worn themselves out during the Municipal Waste set. One more effort saw the audience rouse themselves into lie for set closer and Cannibal Corpse classic Hammer Smashed Face. Once again Cannibal Corpse did not disappoint and I’m sure there were aching bodies, stiff necks and ringing ears across Bristol and South Wales the following morning.

Review by Richard Oliver

Live photos by Mike Evans

ALBUM REVIEW: The Black Dahlia Murder - Servitude

This is the 10th full length studio release from the Michigan death metal outfit and the first since the untimely passing of co-founder, songwriter and vocalist, Trevor Strnad in 2022. His founding partner and the now only constant member, Brian Eschbach has taken over frontman duties, with former member Ryan Knight (2009-2016) stepping back into the fold and replacing him on rhythm guitar. The current line-up is completed by lead guitarist Brandon Ellis, who joined in 2016, and a rhythm section of Alan Cassidy on the drums and bassist, Max Lavelle, both of whom have been with the band for 12 years. 

I must admit having only previously dipped into back catalogue briefly, and they have never been my go-to death metal act; now I'm wondering why. 

The sound of the sea lapping the shore, does not prepare you for the tsunami onslaught to come. Eschbach launches into a raspy scream and a barrage of guitars hit you after the subtle start of opener, Evening Ephemeral. There is a likeness to Strnad's vocal style in the delivery that is a fitting tribute. The drum sound is good, with a clicky kick and hard-hitting snare and the sound of the metalwork is pleasing with the ride bell really ringing out. They launch straight into the waltz Panic Hysteric with no instrumental intro, and there are some nice double time/half time changes. The right and left guitars are in unison, then dual, and occasionally stray away from each other playing complimentary but different riffs, which is almost orchestral. 

Aftermath has an explosive effect, followed by a similar explosion in guitar, into a riff with time changes abound. A bit of a cliché "what does not kill you makes you stronger", but it works, as does the abrupt tempo change into the melodic solo. A slower start to Cursed Creator brings with it a slab of even heavier material than the previous tracks. Some key modulation adds to the dynamic of the song, and the album. This has a good groove to it and a nice chug before the solo. The dynamic is changed by The Intermission, which does as it says, an acoustic mellowing before the attack of Asserting Dominion, where the bass really comes alive. The track is pretty groovy, and gets more so as it goes on, with the guitars leading a merry dance. 

Title track Servitude has pinch harmonic bends a plenty, and some great lead motifs over the main riffs. The drums drive this along, the double kick isn't always constant and there are some good, syncopated parts. Mammoth's Hand is another that starts off slower, with lead guitar over power chords and it builds the tension into a ringing picked riff, and a subsequent foot tapping, head nodding groove. Most tracks have that progressive feel to them, but this is like a death metal Mastodon (prehistoric mammal connection!). The kick on this one gives it a great amount of feel. Penultimate track Transcosmic Blueprint is probably the most progressive in style on the album. It is almost jazzy in parts and has some meandering lead solos, that are a well-balanced mix of melodic and shredding. 

The album finishes with Utopia Black, a song that I could listen to all day. This really showcases that different riffing technique between the guitars and is full of hooks. It took a few listens to get into the vocal delivery, which was at times very rhythmic, and punctuating. The raspiness also took me a while to get used to; I like a bit more growl, but when I did, I enjoyed it. The different guitar parts being played, and not just the same one duplicated or harmonised is a high point for me, I think sometimes these could have been allowed to breathe a little without a vocal part for a few bars. The bass is driving and complimentary, and the drumming gave it a good feel. The mix was great. Nothing was too high or low, and as mentioned before the metalwork rang out. 

At just over 32 mins, it is a pretty short album; no track is over four-minutes, with the longest being the last track at 3.59, and it does leave you wanting for more. The only problem is that now I'm going to have to work my way properly through the back catalogue. Anyone got a machine to make more time???

Servitude is out today via Metal Blade Records

Review by Rich 'Tricky' Hudson

ALBUM REVIEW: Thrasherwolf - Inside the Sickened Mind

Hailing from London, this four piece thrash band first came to my attention at the Moshin' The Roof On festival in Derby earlier this year, where they played a blistering gig of pure thrash metal; one of the most memorable sets of the day.

Their current line-up comprises Daniel Lucas on guitar and vocals, Jack Saunders on second guitar, Zaq Razaq on drums and Raimond Dobelis on bass. The band formed in 2016 and released their first album We Are Revolution in 2020, to great reviews and acclaim. Their second album Inside the Sickened Mind is a definite move forwards in the field of thrash metal, with a more polished sound and a established sound of their own. 

The opener Final Act of Aggression prepares the listener that this is going to be a blistering album with a classic, jagged guitar and drum intro leading into the full band and almost spoken vocals. I y view this would not be out of place on any East Coast or early British thrash albums. The band have managed to create a feel like a classic US thrash band whilst retaining their Britishness, a hard thing to do. 

It would be easy to point out their influences;  Slayer, Exodus, Death Angel etc, but there are broader inspirations, as you can hear a lot of the NWOBHM bands as well in the vocal style and delivery. The intro to GBH (Gratuitous Bodily Harm) is almost Thin Lizzy or Saxon, obviously speeded up but nonetheless, this sound is there. 

The tracks on this album are fabulous and way above their competition. I am aware that many of my fellow reviewers are big fans, and in this case they are well justified. If you are not banging your head by the opening bars of Hanging House, you must be dead inside. The riffs are infectious and the balance of speed and aggression keeping it true thrash without venturing into the realms of speed metal. Scream till Death, Consumed and Haunted are all great tracks, keeping the balance just right with feet tapping and heads bouncing throughout. 

The title track Inside the Sickened Mind is an epic seven-and-a-half minute track and feels like one of those massive Iron Maiden tracks, think Rhyme of the Ancient Mariner  but without losing the thrashing edge. It bounces along with a bit of a crossover sound to start, a slow interlude in the middle, and then gets going again with those thrash guitars and clear vocals. It works on every level for me and is a perfect balance of styles. 

As I said, the range of influences are wide and varied from Maiden to Suicidal Tendencies through to early Metallica, but mixed and blended into the perfect sound; very much the future of British thrash metal. The album overall is a success and demonstrates the band are moving forwards at a good rate of knots. I am looking forward to see how they play out live at Thrashchester Festival in a couple of months. One of my top albums for this year. 

Inside the Sickened Mind is out on 4th October. 

Review by John Caffrey.

Live photos by Hutch

ALBUM REVIEW: Demon Head - Through Holes Shine the Stars

This is the fifth album by the Danes since their debut in 2015, Ride the Wilderness. 

Demon Head are a new band to me, and I was instantly impressed with the opening song The Chalice, which has quite a gothic feel to it. Down With the Sky follows, and Marcus Ferreira Larsen's distinctive vocals are clearly a strong part of their sound. The track is well delivered and very haunting. 

Our Wicked Mother is next and must be strong contender for the next video or single. It continues with the gothic overtones but possesses a slower, more dramatic feel. Every Flat Worm was the first sampler released and I can hear Type O Negative influences with the vocal duet with Birk Gjerlufsen Nielsen alongside the piano adding to the atmosphere. The piano intro on Wildfire Main has a definite B movie horror feel through the start and would easily fit into a film. Deeper Blades is enhanced by female vocals, complementing Marcus in a slower more brooding feel, gently building up the pace with some excellent rhythm work. 

Frost picks up the pace again with a more stripped back guitar tone and solo, giving the album a good old school metal sound. This leads to the closing track, The Vessel Is Willing. A building rally call grows with gusto before mellowing down briefly. The strong drumbeat carries the mid-section into fade out. A good well-balanced album and of interest to everyone who likes the more gothic side of rock and metal. For fans of Calabrese!

Through Holes Shine the Stars is out now via Svart Records.

Review by Dez Coley

LIVE REVIEW: Ill Nino - Rebellion, Manchester 11th September 2024

It was a few years ago when I was recommended to see Ill Nino at Bloodstock. I am that I went along and witnessed the Latin metalheads at full throttle. 

Tonight, I get to see the band on their 25th anniversary tour. The lead singer is not with the band and is replaced by Bad Wolves / Five Finger Death Punch member Tommy Vext. The sound of Santana’s Maria Maria blasts out whilst the band hits the stage, to be swiftly replaced by the brutal opening bars of If You Still Hate Me. 

The rhythms of drummer Dave Chavarri and percussion of Daniel Coute give the band their unique sound. Guitarists Jes De Hoyos and Sal Dominguez provide the metal edge, whilst Lazaro Pinas bass fills in the gaps. Vext bounces around the stage; he is a colossal unit of a man and for me gives the hardcore punk element to the band which I really like. This comes across on harder songs like I am Loco and This Is War. His vocals are still tuneful enough to cope with the lighter EMO style songs, like singles This Time’s for Real and What Comes Around. They still feel relevant, and the crowd knows every word, much to the delight of those on stage.

After an amazing percussion interlude from Chavarri and Coute, the band launch into the semi-acoustic With You. The song draws out the emotions of the crowd as they all sing along at the top of their lungs. Vext then introduces the band and lets rip with his famous version of Zombie, originally by The Cranberries. This version, however, is much heavier and takes on a different, more relevant feel to today’s world. The set continues with some heavier tracks, I Hate You being of my favourites from the set. 

They then go into a medley of their favourite rock songs including Pantera’s Walk and Slayer’s Angel of Death amongst others ending with One Step Closer (originally by Linkin Park). The set concludes with crowd favourites Unreal and How Can I Live. The crowd goes nuts for a final time.

As the band do their now obligatory end of set photo, those walking away are dripping with sweat but grinning from ear to ear. A great set by a very underrated band. Personally, I think that Tommy Vext improved the band with a more brutal, hardcore edge, although one suspects the fans would rather usual vocalist Marcos Leal was at the helm to bring a more EMO feel to a lot of the songs. For me, both are great frontmen and I’m more than happy to see either next time I see them (hopefully at the Nu Metal festival in Mexico City).

Review and photos by John Caffrey 

LIVE REVIEW: Satan / Parish - Downstairs at the Dome, London 11th September 2024

A midweek 'school night' gig, and my first at this intimate 250 capacity venue, for Satan's Songs in Crimson album tour. I arrived at around 7.15pm, 15 minutes before the first band was due to start and the small crowd of roughly 100 was steeped in anticipation. 

Support in the form of London power-trio, Parish, who stood in on this date of the tour for Seven Sister who had to pull out. The lights dimmed, a burst of feedback exuded from the cabinets, and they started their seven-song 30-minute set. I didn't know what to expect from them, but what ensued was a slab of classic 70s hard rock/heavy metal with a hint of doom in the vein of Black Sabbath, and a sound that was bigger than three members, bassist Tony Hughes, drummer Joe Bulmer and James Paulley, frontman and guitar. There was a great interplay between the guitar and bass from the beginning of the first track, Apothecary, and the rhythm section drove the songs, as you would expect in a three-piece outfit. There were grooves a plenty, with some bluesy feeling, especially in the second track Cunning Murrell, and a lovely motif on the softer song, In the Shadow of the Hill. Tempo changes were done well even when abrupt, as showcased in Sisters of the Light. Penultimate track, a new composition, Battle Beyond the Veil, came racing out of the blocks with a driving rhythm, powerful vocals and good guitar solos. The finale was Parish, a dynamic song that had a touch of prog to it, and the crowd chanted 'One more song', but alas time was up. 

The instruments sounded great, and the vocals were powerful when Paulley was belting it out but were lost a little when softer. They let the songs do the talking and crowd chat was not at the forefront of the performance. I was pleasantly surprised and would gladly catch them again. [Thanks to Tony for typing the setlist into my phone]. 

The crowd had increased by the end of the support set to around 150-175, the Terminator synth intro heralded Newcastle's Satan onto the stage, and they launched into Trial by Fire. This set the tone of the night, with a powerful vocal performance from Brian Ross, and tight guitar work but with enough leeway in it for it to have that live feeling. They slipped seamlessly into the next song, Blades of Steel, with a great scream and singing that would give 1980s Joey Belladonna a run for his money. It was impressive to see Russ Tippins, one half of the guitar duo with Steve Ramsey, tune his guitar between riffs without missing a beat. 

A bit of crowd banter with Ross taking the mickey out of the Newcastle crowd from a few days before, I feel a good-natured Tyneside/Teesside rivalry within the band. Great riffs from Ramsey and Tippins were plentiful with Ascendancy, Sacramental Rites (from the new album), and Twenty-Twenty-Five being testaments to this. Break Free showcased the guitar work, with a tapping solo into, now characteristic dual guitar and then shredding. This is why I love this music. Sean Taylor's drums kick you in the heart continually throughout, but really whacked you during Ophidian, whilst an evil guitar riff took you down the road of environmental destruction. Heaviness, chugging guitars and thrashing were evident in Into the Mouth of Eternity, Turn the Tide (another new album offering) and The Devil's Infantry, with the later embracing progressive tempo and timing changes. A massive roar and chant of 'Satan' greeted the end of the track and atmospheric drumming, and Graeme English's rhythmic bass drove the intro to Testimony. 

This is proto thrash at its best. Until now the bass has disappointingly set a bit low, but it is more evident in this track and the next, Alone in the Dock, where the riff is a definite highlight. The encore consists of Siege Mentality, which gallops away, and ultimately, Kiss of Death, which starts with Tippins riffing Voodoo Chile, into a proper NWOBHM song, reminding me of early Maiden. Throughout the vocals, guitars and drums sounded good, but at times the backing vocals were a little low, and bass didn't get the presence it deserved until near the end. Seventeen songs, with a mixture from all albums, and 90 minutes have flown by in, and deserved a bigger crowd.

Review by Rich 'Tricky' Hudson

LIVE REVIEW: Blackberry Smoke / Bones Owens - Eventim Apollo, London 14th September 2024

“We’ve been coming here for 12 years” states frontman of Blackberry Smoke. “Our first show was at the Camden Barfly. Any of you there?” he asks. It’s a Sepultura at the Marquee moment as hundreds of obviously lying fans shout “yes”. Such is the popularity of the Georgian outfit that they are now selling out the venue I will always call the Hammersmith Odeon. 

They’ve been through some adversity in 2024, but the band, bolstered by latest album Be Right Here, are in fine form for their final UK show of a short five-date visit to the UK, part of a bigger European and US tour that doesn’t finish until the end of the year. Tonight is the first time some have seen the Smoke, but for me it’s the sixth or seventh, and in the biggest venue so far. 

Unsurprisingly, this is a band who as comfortable playing in as iconic venue as this as they are on the back of a flatbed Ford in their own back yard. They simply ooze quality, making the complex look simple, and delivering a two-hour 21 song set without apparently breaking sweat. Scratch the surface, and you’ll find guts, determination, and no small modicum of talent tucked away. With eight albums to draw from, including Be Right Here to promote, this was always going to be an excellent evening. It proved to be that in every way. A check on Setlist FM confirms that this is a band who switch the set around every night, so there are always a few choice cuts alongside the favourites that excite those whose interest may be less fanatical. 

Still, kicking things off with Live it Down from You Hear Georgia was unexpected, but Good One Comin’ On and Hammer and Nail quickly elevate the temperature in the famous old venue. A gentle tip to Brit Turner (RIP) leads to a gorgeous Azalea, a fitting tribute to their departed drummer, and whilst it is surely still raw, the band and Starr don’t dwell on it. Maybe that’s the best way, with Brit no doubt looking down and giving the thumbs up of approval to Kent Aberle who doesn’t miss a beat behind the kit. 

This is a vibrant Blackberry Smoke, with Benji Shanks now on board and adding not only some ferocious fretwork but also mandolin on Azalea. There’s a brief pause as an overexcited audience member needs security assistance, Starr halting proceedings with almost instant cessation from the entire band, gently ribbing about mushroom overindulgence before they pick up again without a note missed. You want heavier Smoke? Waiting for the Thunder is massive, Let it Burn roars whilst the interplay on Sleeping Dogs / Long Haired Country Boy sees the band dip in and out of a bit of Zeppelin. This isn’t a run through of their songs as per recording, no sir. One Horse Town sees the audience on their feet before Little Bit Crazy ends the main set. Starr returns with fine hat for Don’t Mind If I Do, which leads to the finale of Ain’t Much left of Me with Mississippi Kid intertwined into the middle. It starts with more virtuoso work from Starr, who threads a bit of Amazing Grace into the beginning. 

It’s a fine set, and although Starr is inevitably the focus, the slickness of the entire unit cannot be underestimated. Richard Turner must be the coolest bassist in town, barely needing to move, whilst guitarist Paul Jackson spends much of the evening beaming at those in the front rows. That just leaves the integral keyboard and Hammond work of Brandon Still. Unassuming, his layered style adds another dimension through the evening. It won’t be a surprise if next time Blackberry Smoke hit the UK the venues are even larger. Wembley Arena beckons. And if they do, then it will be because of nights like these, when they proved once more how phenomenally good, they are. 

The evening starts an hour earlier with Bones Owens and his fellow musicians Doy Gardner (drums) and Sonny Remlinger on bass and keys. Standing in for The Steel Woods who decided to pull out and call it a day, Bones brings an interesting warm up to the night. He’s far away from the rear of the circle where I’m sat, but he’s loud as hell, as he switches guitars. There’s a Firebird, a Flying V, and a couple of other Gibsons as well. Not being that familiar with his music, it’s time to sit back and just appreciate the talent on display. 

He’s not overindulgent on twiddly fretwork, and possesses a rich, sonorous vocal style that certainly warms. The man from Missouri and now a native of Nashville can write a song, with a strong blues rock blend that adds a muscular edge to each track. He draws a few from new album Love Out of Lemons, as well as diving deeper into previous releases. From where I sit, he looks a well-built dude, and he plays with a passion most of his peers. There’s a powerful stomp on opener Get It On, plenty to explore during Keep it Close (One of five from his album Bones Owens) and flashes of his inspirations littered across the set of 11-songs. Was that a flash of When the Levee Breaks that flitted into one of the songs? Very Possibly. By the time he’s torn through Rambler and Bout Time, we’ve had 45-minutes. A generous set allowed by the headliners, who Owens is keen to praise and support. It’s his first visit to Hammersmith, a venue he had on his wall with pictures of Johnny Cash when he was younger. Tonight, he ticks another off the bucket list. Dreams can come true.

Review and photos by Hutch

ALBUM REVIEW: Dog Eat Dog - Walk with Me

I've never been to a Frat party, but I've seen enough movies like American Pie and I know What you did last Summer in the late 80s and early noughties to understand what goes on. Enter the house with Greek letters across the top, drinking from a kegger, turning the front room into dance floor and having a party playlist that spans youth culture at the time. You can throw away the playlist for this particular frat party because Dog Eat Dog’s lost album Walk with Me comprises all the subcultures that would interest all the participants of a late 90s and early noughties Frat party. 

Everything gets covered here from pop punk, hardcore, ska, punk, reggae, hip-hop and new metal. And all this coming for a band that already had huge amount of air miles underneath them with touring Europe and America excessively…. surely, you're on to a winner?? The album does demonstrate a maturity in song writing in many of the songs with a smoother and less abrasive production job then their other albums. Album openers Showtime, Hell Yeah and Undivided show the pop punk, nu-metal influences but with a little more introspection and a far more professional setup. We still get the horns featuring highly, the basic rapping over the top but nevertheless the first three songs shoot by fairly quickly. The Dog Crew did spring from the hardcore scene which is represented with the ridiculous MILF. References to Suicidal Tendencies and Danzig at the end but with the title such as it is and the subject matter of the song being extremely adolescent, no hardcore band would ever take this seriously unless you are Dog Eat Dog. 

They do expand on their hardcore roots later in the album with the song called My Frustration. Adventure further into the American subculture at the time with funk metal and crude scratching on All Night and the reggae tinged ESB. Get a little bit of street punk going on with Cannonball and some hip hop with Dark Secrets. 

Like all good playlists or as we used to call them back in the day, mixtapes, things would get lost and I'm sure frat parties were no exception. Which is very apt seeing as a few legal disputes with their record label in 2006, after the recording of the album meant that Walk with Me was only released and available for a short period of time. However now in 2024 you can listen to the album with all the usual vinyl and CD packages available. This album has a sense of a compilation done by one band. It's a bit behind the curve but if you were a full paid-up member of the Dog Crew back in the day it’s probably worth a listen. One for the completists and the curious.

Walk with Me is released via Metalville on 20th September

Review by Carl Black

ALBUM REVIEW: Eradicator - The Paradox

Germany's Eradicator bring us their sixth offering The Paradox and its a bit of a belter, formed in Lennstadt in 2004, the band have released albums, Eps and singles consistently from 2009’s The Atomic Blast, through to 2021's Influence Denied, all in an old school thrash vein. 

The Paradox is a slight departure from this, and is a more diverse and mature sounding album. Beyond The Shadow's Void opens the album with an atmospheric wind noise and a creepy semi acoustic solo guitar motif, before exploding into a brutal classic metal verse which cranks up to thrash speed over the duration of the song.

The vocals of Sebastian “Seba” Stöber are somewhere between thrash and death metal, raspy at times, growled at others, but very coherent, which is good as the subject matter of the lyrics is interesting, covering the dichotomy and ambivalence of human action and thought, denigration of the weaker to make oneself stronger. The Paradox of trying to create peace through war and having to evacuate the planet due to environmental destruction, only for the “Ark” to be stuck in orbit due to space debris (see, I do read the press packs). 

The guitars of “Seba” and Robert “Robb” Wied are precise, the riffs tighter than a shikari master’s knots, the drums of Jan- Peter “Pitti” Stöber are at points stupidly fast, but never out of control, and tie together well with the bass of Sebastian Zoppe. The standout track for me was When the Shooting Begins, a mostly mid paced tune with a hooky chorus, a superb solo, which speeds up towards the end, but they also have a real groove to some numbers, with a real swing to Kill Cloud. 

Sometimes the vocals don’t quite match the music; Hell Smiles Back being the main offender, where Seba’s high notes get a bit ‘Bad News’, but the music is still great., The kick drums really give you a pounding, and they also have quite a country twang to some of the guitar parts, especially the opening and closing parts of The Eleventh Hour (Ramble On), which is a slower number than the rest of the album. It also feels experimental with multiple time changes, it’s almost progressive, but still good. Otherwise, it’s straight-ahead thrash, and at 55 mins, the time flies by, and it’s a pleasant way to spend that time. If they tour the UK soon, expect to see me in the pit.

The Paradox is released via Metalville on 20th September

Review by Andrew Matthews

LIVE REVIEW: The Karma Effect / Austin Gold, Clwb Ifor Bach, Cardiff 12th September 2024

It’s a Thursday night in Cardiff and things aren’t looking that good in the lower venue at Clwb Ifor Bach as we arrive, 10 minutes before support act Austin Gold are due on stage. There are probably no more than 12 people in the room. Thankfully, it fills out to a more respectable number by the time the band hit the stage.

Thankfully, because this was a two-band gig that deserved many more punters watching. Maybe the attraction of Spike across the road at Fuel Rock Club was a factor. I’ve encountered openers Austin Gold before. The band led by David James Smith (vocals & guitar) held their own at the top of the mountain at Steelhouse 2023, and tonight they ensure that we are going to recall their efforts with an effusive and dynamic show that sees them roll out tracks from their first two alums, Before Dark Clouds and Those City Lights as well a couple of tempting newies from the forthcoming October release Ain’t No Saint. 

Austin Gold has a sound that does at times blend them with many of their genre, but it’s the keys of Adam Leon (who also wins the best gurns of the evening) that add the difference. The lush chords he delivers provide a thick retro feel to the band’s sound and allow James Smith to add some succulent guitar work without losing any heft in the middle sections. He’s also got the voice to carry the songs, full of soul and emotion. Yes, he plays the rock star, but hell, I want my musicians to have a bit about them. 

Full credit too to stand in bassist Paul Douglas, long-time fifth band member and no mean player, who not only rocks the best beard of the evening but also holds the low-end down with ease. It's Mountain that once again proves to be the standout track. It was the earworm last time I saw them and if every band needs an anthem, then this is Austin Gold’s moment. That doesn’t disparage from the new material, with latest single Hell or High Water certainly holding its own. Now in their eighth year, the progression is evident. Confident in their delivery, and most importantly, able to warm up a room who may not be familiar with their songs. The applause at the end demonstrated this in spades. Austin Gold is certainly one to watch.

They’ve been gigging for the past three years, released two albums including the top 20 album The Promised Land, and are on the verge of something special. The Karma Effect are another band making huge waves in the NWOCR movement and it’s with good cause. They enter the stage (having spent 10-minutes setting up) to Aerosmith, and one can instantly see why the US legends are used. The Karma Effect have that Tyler / Perry swagger about them, the ease and confidence to parade the small stage with a dynamism which already hints at bigger things to come. 

Harry Gottelier is the central pillar of the band, a twirling, swirling powerhouse who has the smoky rasp that sits so well with the band’s songs. He’s no mean guitar player either, switching lead breaks with Robbie Blake as the set progresses. It's all eyes on new keyboard player Jamie Bull who is only on his fifth show with the band, but his rich keys are on point, adding to the rip-snorting edge of this vibrant band. They play a thrilling set which combines tracks from their admittedly short career, which Henry tells us about later in the set. 

From the stomping start of Livin’ It Up and the earworm Doubt She’s Coming Back which instantly gets the temperature rising, via a stripped back version of Be My Salvation, and the inevitable fist pumps to Wild Honey and Testify, this is a set that oozes class. A deserved encore which they wisely do without the cumbersome attempt of climbing off stage to come back on climaxes with Promised Land.

Walking out into the autumnal evening, slightly moist from the heat generated, one wonders how long The Karma Effect will be playing venues of this size. I think of bands like Dirty Honey, now playing 1200+ capacity venues, and the answer must be, not long. Catch ‘em while you can, for The Karma Effect are surely going right to the top.

Review and photos by Hutch