Musipedia Of Metal

Storm Cry: Beginning Of Darkness EP (Self Released)

Bringing their music from Venice Italy Storm Cry are a colossal no messing Melodic Death metal band that deliver their music with the ferocity, at times, of an earthquake in your ears. Opening softly with the instrumental The Decent Leonardo Doro and his band lead you completely the wrong way up the proverbial path with a soft careless opening until The Sun Dies Here comes smashing into the equation. From the offset Storm Cry jam their songs with heavy leaping thrash riffs covered beautifully with melodic solos that really define this band. The SYS and Fear Now carry on providing me with punch after punch of dark riffage and magnificently uplifting solos. Roberto Bindi’s deep growling voice compliments the sound that Storm Cry has set out perfectly. Almost sinister in his delivery the vocals here really add an extra layer and edge of doom to this project. Finishing all too soon Void and title track The Beginning of Darkness end this powerful EP. With its unexpected turn of pace Void is almost lighter in mood, that is until the fearsome growls of Bindi’s vocals resurface bring the EP back to the crushing sound of darkness that I am starting to love. Francesco Pasinato and Doro really come into their own during The Beginning of Darknessthrowing out thumping riff after riff while holding the rhythm at a perfect tone. The highlight here however is the drumming of Matteo Rizzo who relentlessly pounds away furious beats with the power and vengeance of a jackhammer, really impressive. Never hearing Storm Cry before I have to say I'm damn impressed, the Italian lads have clearly decided what they want from their music and have achieved that in a brutal yet almost majestic manner. My only two criticisms; maybe at times there can be a bit too much going on; halfway through Fear Now for example every instrument is at full force set to 11 and the sound does turn into a pile of noise briefly. The other? This EP just isn’t enough for me, here’s to a Storm Cry album in the near future! 9/10

Pohl : Pohl II (Self Released)

Based just on the other side of the bridge from us, Bristol trio Pohl have recently released their second EP. In all honesty I've never quite come across a band like Pohl before; mixing hard bassy blues rock with a grungy yet almost stoner type feel to it, one thing Pohl cannot be accused of is being unoriginal. Opening track of Cute Guy Alert is stuffed with enough bass to make your ears bleed. Hugo Morgan picks away incessantly at his bass strings laying down grove rhythms as deep and as grounded as you can imagine. Each track is solely based on these bass rhythms and ultimately makes Pohl what they are. Vocally there is nothing special here at all, but I get the feeling that isn't the bands biggest worry. As in Cute Guy Alert next track Eraser is introduced with pounding bass lines that quickly turn into fast moving groves. Controlled drums from Jamie Thompson deliver some sense of normality throughout the EP, however he can send his cymbals crashing to a crescendo when called upon. Eraseris slightly less understated and keeps your head bobbing along nicely, finishing how it started with a deep exaggerated grove line. The final track of Pohl II God Save The Queen (High on Death) is something completely different again, slow doom laden bass rhythms with very little rhythm guitar throughout. Focused mainly on the bass and sporadic drumbeats the Will Pearce’s vocals are synthesized this time to add an extra depth to the track that also adds to the somewhat organized chaos that is Pohl II. Dragging along slowly this track stalls the EP for me. Ultimately, despite the degree of fun the lads from Bristol represent, Pohl aren't really my cup of tea. I think however given the chance I would certainly take them in live as I can imagine it being an experience. There is no denying the imagination and the bravery Pohl have, particularly the talent of Morgan on bass. But maybe a few more degrees of direction are required to streamline Pohl’s sound a little more. 6/10

Vengeful Ghoul: Timeless Warfare (Self Released)

Vengeful Ghoul? Sounds like a band name ready for a concept album, preferably one aimed at a wronged Casper. Alas not on this album although the theme of war does run through the record with the opening track Chained Freedom opens with battle sounds and then goes on to run for 7 minutes of time signature changing, muscular heavy metal with thrash influences. So far so good then with an opening track as good as this it puts the rest of the album in good stead. So who are Vengeful Ghoul? Well they are metal band from Turkey and they play Power/Thrash metal which may sound a bit odd but to give you an idea they sound like Iced Earth, with some relentless riffage from rhythm riff-mistress Senem Undemir and some laser guided leads from axe-master Ozgur Nair both of whom are helped in their musical destruction by Volkan Beykoz's drums and Gorkem Buyukesmeli's bass who add to the metal madness with some rock solid rhythm making every song hard, heavy with lots of technical prowess, the finishing touches to the album are from vocalist Emre Kasapoglu who is from the Andi Deris and Tim 'Ripper' Owens school, with growling mid-range and a ear piercing screams. Luckily I love Iced Earth so I was banging my head and raising my fist to every fast and heavy track, the band have the right amount of grit, melody and technical ferocity, see the solo in Ruthless Crow and they are equally at home with fast thrashy passages as they are with slower more melancholic moments like My Crowded Solitude. Powerful, progressive and all around awesome this is a hell of a debut from the Turkish band. If you like power metal, a bit more serious and technical than usual then Vengeful Ghoul will definitely be one of your albums of the year! Superb stuff indeed!! 10/10

Wolfmother: New Crown (Self Released)

Andrew Stockdale put Wolfmother on hiatus to release his (admittedly very Wolfmother sounding) solo album. Now he returns with a new drummer and bassist/keyboardist which is if you remember the original line-up the band went forward with. Now can they conjure up the magic of their world beating debut? The short answer is no there are a few flashes of greatness that hark back too their self titled album. HowManyTimes, Heavy Weight, Radio and the title track are full of the riff fuelled rock that made Wolfmother popular in the first place. However seeing as Wolfmother were put on hiatus and guitarist/vocalist Andrew Stockdale indulged himself with a solo album, which had a mix of styles a few if which make their way on to this new 'mother record. I Ain't Got No is a pure Rolling Stones pastiche, wholeheartedly ripping off one of their biggest hits (no prizes for guessing which one), whereas Feelings is a four chord punk rocker that Joey, Johnny, Dee Dee and Tommy would be proud of. This is a return of the Stockdale's baby and shows where he has his best ideas, on the back of a solid solo effort this is Stockdale back to doing his day job. 7/10

Gus G: I Am The Fire (Century Media)

Right lets get this out of the way first of all, Gus G's debut solo album does not sound like Firewind or indeed Ozzy so those looking for that will be disappointed. What the Greek virtuoso's debut does do is cover a spectrum of rock music with an A-list line up of guests. The main recurring member, other than Gus and drummer Jeff Friedl, is Mats Leven (the man who should be the singer of Firewind) whose strong smoky voice is perfect for the opening salvo of rockers My Will Be Done and Blame It On Me, so far so good, big, fat, melodic riffs good songwriting and some seriously fret melting solos, then things get a bit weird as the title track is an American alternative radio rock song straight out of the Hinder/Papa Roach playbook and features the vocals of Devour The Day's Blake Allison, so yes the song is good but it is a very rapid change of direction that leads to another two songs that are similar in style to I Am The Fire both having that alternative rock feeling with Long Way Down featuring the great voice of Alexia Rodriguez and is similar to Halestorm in feeling and the big, radio ballad Just Can't Let Go which is right out of the Kroeger playbook. Both of these tracks are bookended with instrumental tracks one is Vengeance (not the Yngwie one) and the other is Terrified, both of the tracks sound a lot like Racer X/Paul Gilbert instrumentals with melody and also virtuosic tendencies, bolstering the Gilbert comparisons is the appearance of Billy Sheenan on Terrified. The final part of the album features more walks through the rock genre with an AOR ballad featuring Evergrey's Tom S. Englund (Dreamkeeper), the Journey-like Summer Days which features Jeff Scott Soto (thus the link to Journey) and the last guest is a pleasant surprise in the shape of Steel Panther's Michael Starr playing it straight for once on the Bon Jovi meets Metallica Redemption. So this is an eclectic album that touches on so many different styles but they are all held together by Gus G's excellent guitar heroics, a great album that will have a wide appeal and will surely make Gus very, VERY famous across the pond (which one suspects is the entire point). 8/10

The Oath: The Oath (Rise Above Records)

When I first saw the press pic for The Oath I immediately thought the metal community are going to have a field day with this, an occult doom metal band fronted by two devastatingly attractive, leather catsuit clad, almost identical blondes, one the Swedish guitarist Linnea Olsson and the other German singer Johanna Sadonis. The two women recruited a bassist and a drummer (two bearded dudes, a Parisian and the drummer from Angel Witch) and set about constructing some dark, stripped down, occult doom is going songs about Satan, death and misery. So with the image set it was up to the music to prove that the band were more than style over substance and it does so excellently, imagine if you will a band that is part Danzig (naturally), part Sabbath (obviously) and part the Runaways especially on punkier tracks like NightChild and AllMust Die. Olsson's guitar is very good with the right amount of stripped back, garage, heavy riffage and jangly, angular folk on LeavingTogether. Sadonis' vocals are soulful, sonorous and powerful giving a gutsy performance on every track, especially the haunting SilverAndDust. This is a great album full of some strong traditional doom rock that will be for fans of Blood Ceremony, The Devils Blood as well as Cathedral, Sabbath and the old guard. As the album ends on the haunting, progressive Psalm7 you feel like you've been taken on a journey by the two sorceresses that formed this band, a glimpse into their dark world. 8/10

Lost Insen: Here After (Self Released)

Lost Insen are from Tunisia and started life as Dream Theater cover band and you can hear the influence of the premier purveyors of prog metal right from the outset. With the organ drenched first track The Greedy Idiot, which also has a nice fat, crunchy guitar riff and a few time signature changes for good measure, not bad for 4 minute track, in fact all the tracks are relatively short for a progressive band with only the final, majestic, grandiose, middle eastern flavoured Freedom, It's All About clocking in at over 10 minutes ending the album in terrific style. Despite the short lengths the tracks are all excellently written and performed by a band who are obviously excellently talented, from the massively melodic When You Were Here to the heavyweight Breaking The Walls. The guitars and keys of Karim and Fadhel Bouazra work together brilliantly bringing the main body of the songs to life while be aided by Yessine Belghith's bass and Mehdi Braham's drums along with Oscar Zubelzu's strong vocals have more in common with Ray Alder than they do James LaBrie but they fit the bands intelligent progressive metal delivery and they at their best on the acoustic ballad The Way It Has To Be. This record is fantastic, it is one of the best progressive records of the year so far and I urge you to seek it out. Well done Lost Insen you have released and album that many bands can only dream of releasing in their career and never mind as their debut!! 9/10

Arising Fear: Beyond Betrayal (Self Released)

There really is a glut of German thrash metal around at the moment and Arising Fear are fast, furious and full of fury. Coming from the more modern style the band share a lot of stylistic similarities with Trivium and early Machine Head, especially with Alexander Rauh's vocals and on tracks like Deadly Embrace which features those trademark MFH pinched harmonics. The band combine twin guitar riffage and some metalcore breakdowns that hark to groove metallers like Pantera. This is a 10 track album that is full of anthems, Rauh's and Kevin Pöllmann's guitars are awesome, heavy, melodic and very fast with Tobias Möhring's drums and Thomas Franz's bass really bringing the heavy to the album, Möhring's drums especially are the driving force behind Day To Overcome which knocks you out of the blocks and has a massive melodic chorus. Arising Fear are a breath of fresh air to the German thrash scene sounding very American in their delivery which will stand them in good stead for the future. If you are a fan of Machine Fucking Head then you will really enjoy Arising Fucking Fear and their debut album, which is frankly an excellent modern thrash album from these young Bavarians. 8/10

Jesus Christ: We Will Fight (Self Released)

Jesus Christ are a thrash metal band from Russia, they mix frenetic guitars with shouted vocals and lots of attitude, this isn't thrash in the Metallica/Megadeth style and is more like Anthrax in tone with the thrash speed mixing with the hardcore stomp and lots of anti-governmental rallying, with a name like Jesus Christ you would expect the band to have balls of steel. The guitars are straight out of the Spitz/Ian school of riffage and the vocals are pure Belladonna, see Blind Humanity and Traitor as two songs lifted straight off Among The Living. The band do try to expand their sound with death growls but other than that this is strictly thrash. A good album with some good songs let down by the production which is D.I.Y but lends itself to the bands sound. It's not big or clever but it is fun filled thrashing by a band that do what they do well. 7/10

Sonata Arctica: Pariah's Child (Nuclear Blast)

Finland's premier power metal maestros' eighth album is a return to their early roots, this change in style was first alluded to on their last album Stones Grow Her Name. where as that album was the sound of a band coming out of their experimental stage and reverting to type, Pariah's Child is the sound of a band actively rediscovering their youth by going back to the ramped up, keyboard fuelled, power metal gallop of their genre defining debut Ecliptica. Frontman Tony Kakko has gone on record to say that Pariah's Child is "the album that should have been done after Reckoning Night besides Unia." he's right this is Sonata's first 'proper' power metal album in a long time; the galloping bass of new boy Pasi Kauppinen, the blast beat drumming of Tommy Portimo are back along, with the lightning fast guitars and keyboard runs from Elias Viljanen and Henrik Klingenberg driving the album along with gusto so Tony can work his vocal magic over the songs, telling tales of war Half Marathon Man and What Did You Do In The War, Dad? as well as songs from the heart on Cloud Factory and Love and most importantly song about wolves, yes thats right a treat for older fans the wolves are back on opener The Wolves Die Young, before things come to a head on the 10 minute symphonic opus Larger Than Life which is just that full of orchestras, choirs and massive bombast. A riotous return to the sound that made them, this is Sonata rediscovering their past and bringing it into the present. 8/10

Delain: The Human Contradiction (Napalm Records)

Delain are now on their fourth album and much like their compatriots (and brother (?) band) they have grown up and developed their sound becoming more pulsing hard rock than symphonic metal of their early years. Yes Delain have moulded their sound and now they sound a lot heavier than they did on their last few albums, relying more on the guitars of Timo Somers than on Martijn Westerholt's keyboards. This means the band have a sound more akin to Amaranthe or the Annette Olson era Nightwish and even a female fronted Kamelot, this comparison is at its most prevalent on the opening Here Come The Vultures which strats out with twinkling piano before the heavyweight riff kicks in, this style is carried on through Your Body Is A Battleground which features Nightwish's Marco Hietala on the hook filled self esteem raising track that is the sequel to We Are The Others from their last album. As usual there are some great quality guest vocalists with Hietala and grunter George Oosthoek on the very heavy Tell Me, Mechanist, both of whom appeared on the bands debut as well as a great cameo from screamer Alissa White-Gluz (recently announced as the new Arch Enemy singer) on The Tragedy Of Commons. As usual Charlotte Wessels' voice is amazing part operatic, part pop diva, see My Masquerade and the beautiful Stardust for more evidence, if more was needed, Stardust especially could be a number 1 with it's electro-pop backbeat. On their fourth album Delain have adapted their sound again, the band are still evolving but they are evolving into something that could just explode. They are slowly adding to their live repertoire with some well known track and on this evidence they could just be the successors to the WT's crown. 8/10

Massive: Full Throttle (Earache)

Earache are quickly throwing off their extreme metal roots and starting to favour more classic rock orientated bands. It started with Rival Sons, continued with The Temperance Movement and now Massive have joined the fray. Now hailing from Oz you would think that the band would sound like AC/DC but no Massive have the sleazy, swagger of one Guns N Roses if they were fronted by Buckcherry's Josh Todd. This is snotty, alcohol fuelled rock full of dirty riffs, big solos and lashing of attitude. Burn The Sun is straight out of the Axel Rose playbook, Hollywood and the bass led Dancefloor must have been half inched from The Royal Republic before Bring Down The City sets the bands sights on arenas. Musician-wise Massive have a lot of talent for a young band the rhythm section of Aidan McGarrigle (bass) and Jarrod Medwin (drums) who bring the swagger and propulsion to the rockers like One By One (which will be played to death on both Planet and Team Rock) added to this are the riffs of vocalist/guitarist Brad Marr and the Slash-like, blues-based solos of Ben Laguda. Yes Massive are ready to take on the world and with tracks like Big Trend Setter which harks to the arena-filling anthems of Black Stone Cherry, and Lacey which has more cowbell than famous producer 'The' Bruce Dickinson and Gene Frenkle could ever need. So where as Rival Sons and The Temperance Movement draw from the late 60's and 70's rock, Massive are stuck firmly in the 80's Sunset Strip bringing a gritty, punk influenced, hard rock to the modern era much like their label mates have done with their own chosen genre. Hell they've even got a mega-ballad in the shape of Ghost. This is a strong debut album from Massive who could just be (and probably will be if their label mates are anything to go by) just that with time. 7/10

Lost Society: Terror Hungry (Nuclear Blast)

So last year young Finns Lost Society unleashed some quality thrashing for world on their debut album Fast.Loud.Death that record was full of speedy high tongue in cheek thrash full of songs about drinking, thrashing and more drinking harking back to the early days of Exodus and Anthrax as well as the new blood of Municipal Waste. Now Terror Hungry shows the band growing up (a little bit) and stretching their metal muscles a lot more with some riffs Jeff Waters would be proud of. Game Over still harks back to the debut with its riotous gang shout vocals and choppy guitar playing. The band have channelled their inner Megadeth and Annihilator on this album with some lightning guitarwork from Samy Elbanna and Arttu Lesonen who are ably backed by the blast beats of Ossi Paananen providing some skull rattling, fist pumping, pit starting thrash. No it's not big or clever as the lyrical content has gotten more adult but as with the debut there is still time for the occasional track based on drinking and partying see Overdosed Brain and Brewtal Awakening for your dose of silly alcho-fuelled metal. No this is not the reinvention of the wheel but it's not trying to be it's an album full of great thrash rich with razor sharp riffs, precision solos and the prerequisite amount of silliness for any thrash band. A good second shot! 7/10

Kayser: Read Your Enemy (Scarlet Records) (Review By Nick)

Looking for more unrelenting German thrash to add to your life but think you may have tapped the well dry? In that case might I suggest Kayser? Ok, they’re not German, but their music damn sure sounds like it! Hailing from Sweden the gents from Kayser present their brand of Swedish thrash in style with this offering. The fourth album Read Your Enemy is a prime example of what thrash should be, combining harsh vocals from the machine Spice, controversial lyrics with a barrel full of heavy throbbing riffs. From Bark And Bow to I’ll Deny You the albums pace is set and does not relent. Swaney and Jokke work hard in the background providing deep, heavy rumbling riffs that Spice (original vocalist of Spiritual Beggars) accepts with an open hand to lay down a brand of vocals not dissimilar to that of Beholder’s Simon Hall; Edgy, honest and emotion filled. As Dreams Bent Backwards is let loose the albums pace continues, but a more melodic tone is set. Jokke treats us to a few well placed solo’s while Spices vocals soften somewhat. Don't let this fool you though as Bob Rubens drums continue to hammer away at your ears throughout while the album soon returns to its original course with Read Your Enemy all the way through to Where I Belong. ReadYour Enemy opens with a thunderstorm of a riff that is powerful enough to break your speakers. If you haven't picked up the theme yet, Kayser are loud and hey are heavy! Moving into the final part of the album the melodic undertone returns to the tracks. He Knows Your Secrets all the way to Roll The Dice have a great way of offering a soothing solo to let your guard down before beating you back in the face with more Kayser style riffage. Roll The Dice particularly has a brutal breakdown that will have you bent over your air guitars swooshing your real or imaginary hair side to side. Fake Rose is how Kayser chose to leave us; more of the same here but somehow stepped up a notch or two! Filled with everything this album has given us throughout. Fake Rose is the accumulation of what Kayser are all about: hard hitting relentless German esc thrash metal with a twist… a Swedish twist. Perhaps Sweden is more than Black metal band Sabaton after all? Only one criticism I have to tender here; Read Your Enemy is a twelve track brick of an album. I know there are longer albums out there, but being bombarded with this stuff for just under an hour with no let up was starting to become a little bit of work. However, if you're looking for straight up Testament like thrash meets Beholder attitude, I give you Kayser… 8/10

Lord Symphony: The Lord’s Wisdom (X-Production Records) (Review By Nick)

Keyboards, power solos, keyboards, drums and more keyboards I hear you shout? You must be referring to Lord Symphony… more to the point their latest album The Lord’s Wisdom. When the opening track of an album is a prelude there are two things that you can be sure of; there will be operatic backing vocals and you can be damn sure there will be songs as long as the quests they will inevitably to be describing. As the first full track Gate Of Lord kicked in I was truly taken aback by the musical masterpiece I was presented with. Keyboards, guitars, strings, operatic chants and majestic drums, for the first three minutes I was thinking the likes of Ayreon, Trans Siberian Orchestra and Rhapsody have missed a trick! That was until everything went horribly wrong. The vocals of Arif Hartoyo entered the equation and my borderline sexual feelings quickly diminished. Sounding like a very very poor Klaus Meine, Hartoyo simply cannot sing. Now I'm not one to unleash opinions like this on a whim and I feel bad saying this, truly I do, nut this is ultimately my opinion. To make things worse, every time Hartoyo enters a track the drums seem to be exponentially increased hiding the greatness of all the musicians but inexplicably not the vocals. Nevertheless I carried on listening hoping for a vocal improvement that alas did not come. Throughout the entire twelve-track album the band wow’d and astounded me with what can only be described as epic instrumentals and showcases of brilliant talent. Beautiful symphonic strings, majestic drums, sharp crisp guitar solos, memorizing keyboard support and obligatory yet haunting operatic backing vocals; but every time any kind of a head or crescendo was reached… it all came crashing down due to the earlier mentioned problems. For me this is nearly impossible to review as I feel it almost unfair to assign a score. Give me a Lord Symphony with a better vocalist or even presented simply as an instrumental project the potential could be endless. However as they are I fear they will really struggle to lift off. Call me shallow but the vocals and some of the production in this album is a mountain I tried to climb but couldn't get over and this truthfully disappoints me as there is something truly amazing here that may see the true light of day. 4/10

Black Label Society: Catacombs Of The Black Vatican (Mascot Records)

So the rock, the beard and of course the pinched harmonics are back (see Heart Of Darkness) on BLC's ninth release. Lead Viking Zakk Wylde found his acoustic catharsis on the Unblackened all acoustic release so this means that Catacombs Of The Black Vatican is left to be a full on heavy metal from the stomping opening of Fields Of Forgiveness which is a slow moving bruiser and has Wylde's trademark vocoder and leads into In My Dying Time (not a Zeppelin cover) and features some sublime soloing from Wylde, the metal ploughs on with Believe which makes for a killer opening trifecta showing that even sans booze Zakk is still wild! However as usual Zakk is not by himself on this record he is backed by John DeServio on bass and Chad Szeliga who aide Zakk's guitar histrionics, the album is full of heavy metal anthems that BLS do so well but they are punctuated four acoustic country-like songs the best of which is Angel Of Mercy which is a massive ballad in the shape of In This River closely followed by Shades Of Grey (how many is not given) which feels a lot like Prince with it's almost swing backing and explosive guitar solo from nowhere. This is another great album from Zakk and co the metal is back but as usual Zakk is not afraid to show his sensitive side but can still rock like buggery for the most part! 7/10

Band Of Skulls: Himalayan (Electric Blues Records)

Southampton's Band Of Skulls are a bit of an enigma hailing from southern Britain, they have always sounded like they come from the southernmost reaches of the USA with their sludgy, grungy, fuzzy, garage rock that has some big drums from Matt Hayward, some rumbling bass of Emma Richardson driving the majority of the rhythm and the melodic and riff heavy guitar of Russell Marsden. Now Band Of Skulls have always had an appeal to me mainly due to their dual vocals from Marsden and Richardson who share vocals duties giving their albums a very unique sound, Marsden has the midrange blues delivery of Jack White/Dan Auerbach from of The Black keys (a band they share a lot of similarities with) and Richardson has the smoky, soulful voice of Anna Calvi, both of their vocals meld well together to provide some excellent tracks. So three albums into their career do these down and dirty Brits still have what it takes, the answer is yes from the pulsating opening of Asleep At The Wheel, through the blues boogie of Hoochie Coochie, the haunting ballad of Cold Sweat and the almost U2 like Nightmares with its euphoric guitar. Band Of Skulls have always mixed many elements to their sound and this album is no exception, with fuzzy garage rock, through alternative rock/indie rock; see the Arctic Monkeys sounding Brothers And Sisters and even some killer blues-rock on the I Guess I Know You Fairly Well which has some serious soloing from Marsden. the latter part of the album is where the band really stretch their musical muscle on the brooding western feel too I Feel Like Ten Men, Nine Dead And One Dying and the Latin flavoured Toreador on which Richardson gives a simmering, sexually aggressive performance much like Anna Calvi who I've already likened her too. This is another great album in Band Of Skulls' repertoire and they remain somewhat of a special band in my heart with their excellent songwriting and musicianship combining to create another superb album. 8/10

Foxy Shazam: Gonzo (Self-Released)

Seemingly out of nowhere Foxy Shazam drop their fifth album and the band that are Queen's heir (no pun intended) apparent and once again its filled with hard, glam, funk rock explosion full of madness, mirth and a lot of sexy, tongue in cheek music that is part Queen (obviously), part The Darkness with some Zappa thrown in to really throw you off the scent. Yes this a musical menagerie carries on the spirit of their previous albums, with Gonzo having the slow almost New Orleans blues style which has a huge amount Alex Nauth's horn, who has much more of a presence on this album than on previous record The Church Of Rock & Roll, it is followed by the synth filled Poem Pathetic which has Sky White's tinkling all over it before the segue into the fuzzy glam rock of Brutal Truth. This album is a bit more pop and also more scatter gun than previous works relying more on slower songs than the big ballsy rock songs if previous records possibly why it is titled Gonzo. I said earlier that Foxy Shazam were cut from the same cloth as Queen and as Queen were known for their experimentation I'm not going to say that this a bad album but it has a wider ranging style most of which is not rock but more soul and pop meaning the band have an almost ADHD style of musicianship which ends with the funk rock Zeppelin of Story Told. With nine tracks this album is a bit short but anymore tracks would ruin the atmosphere. Once again Eric Nally's vocals are as wide as his songwriting and Foxy Shazam have added another good album to their expanding discography. 7/10

Panic Room & Matt Cook: The Globe, Cardiff

So progressive rockers Panic Room once again grace The Globe for their strong, emotionally charged prog rock that brings in jazz, folk, rock and also some pop to great style. First though was Matt Cook who took to the stage to no real commotion but proceeded to start his set to the small crowd.

Matt Cook

Troubadour Matt Cook wields a Gibson Firebird and as such can make many guitar sounds ranging from acoustic to heavy rock. He also uses a looper device to create his backing band much like David Ford. He opened with one of his own compositions a driving indie rock song on which Matt showed both his guitar prowess and his strong vocals, so far so good but what really won over the crowd and offset the slower more melancholic songs that Cook plays was his razor sharp humor, he introduced himself first as Phil Collins (luckily it was a joke) before promising a massive finale to the set. As I said his guitar playing was excellent and his vocals were too especially on super ballad Letting Go. As this was a showcase he filled his set with his own songs (available at the back for £5!) and punctuated by covers the main one being Fast Car by Tracy Chapman which was a great cover done with true style. The humor kept coming and I for one found him very funny with his between song banter. Throughout his set Cook took us through his Counting Crows like indie rock filled with soul before after some more strong solo tracks. The promised and greatly hyped ending came in the shape of Avicii's Wake Me Up which evolved into him screaming adverts (Bodyform and Calgon being the two major ones) and then ended with Save Tonight by Eagle Eye Cherry. Yes the ending was spectacular and Cook was very well received, a great showcase for the man and his talent, his own songs are good but after checking his website (the excellently named http://www.thatguywesawlastnight.com) he's also available for parties, weddings, bar mitzah's (probably) and anything where live music is required. Well worth seeking out and watching due to his excellent performance and true stand up style delivery of between song banter. 9/10

Panic Room

With the room full of 'Roomies' already warmed up by Mr Cook, the headliners had very little to do to win over the crowd so without further ado they came on to the stage and ploughed straight into the excellent Into Temptation which immediately showcased the band working at full power. Founder Jonathan Edwards drove everything along with his amazing all encompassing keys and synths, they are the main component of every track and they weave a musical web throughout the night, he is accompanied by the technical jazz style guitar playing of Adam O'Sullivan (who showcased his skills on second song Velocity which has a driving guitar rhythm), not be ignored are the full fat, fingerstyle bass work (and chief cheerleading) of Yatim Halimi and the heavyweight drumming of Gavin Griffiths who showed their mettle on Picking Up Knives and the carnivalesque I Am The Cat. Last but by no means least we have vocalist/guitarist/flautist Anne-Marie Helder whose voice is astoundingly good, although she is no slouch on the guitar or flute either backing Sullivan on the guitars on the heavier tracks. Starting a set with three new songs is a brave move but when your latest album is as good as Incarnate then I for one wasn't complaining, plus the real 'Roomies' knew all the words to the new songs anyway. The set was a mix of old and new with the slinky sounds of Chameleon, the folksy whimsy of I Wonder What's Keeping My True Love and the emotional power of Picking Up Knives all coming from the bands first three albums. Back again into Incarnate with the excellent Waterfalls which is an excellent live song and was followed by the old school I Am The Cat on which Helder prowled the stage, so far the band had weaved their magic through a myriad of songs each one different to the last meaning that the band were never dull, however sound goblins (or possibly over enthusiasm on Anne-Marie's part) meant a small gap in the set as the mic had to be fixed, this didn't pose a problem to the band who embarked on a jazz odyssey interlude to fill the time before descending once again into Incarnate with All That We Are, Nothing New, the super strong title track and Dust ending the main set in terrific style! Off stage for a small turn around and then back out for the encore which started off with a small two song acoustic set of Screens and Song For Tomorrow before plugging in for the final two songs of Close The Door and Promises a majestic set from the prog rockers who play mature, emotionally charged, progressive rock. Catch them if you can!! 9/10

Michael Schenker's Temple Of Rock: Bridge The Gap (2013)

Michael Schenker is a name that will fill certain readers hearts with glee, the six stringer of UFO, The Scorpions and his own Michael Schenker Group, he created his own special style that has followed him throughout his turbulent career. So when he returned with the Temple Of Rock, his new project there was a lot of interest, however the first album really didn't have that spark that Schenker is known for. However on Bridge The Gap he has done what the namesake says this is album that links MSG and his early years, full of hard rock and classic metal anthems, Schenker is back to his best playing with the dexterity he has always shown cranking out some killer riffs and sublime solos. On this album he is backed by the rhythm section of former Scorpions Francis Buchholz plucking the bass and the madman Herman 'Ze German' Rarebell on drums (the first time the three have appeared on a record since Lovedrive) on the guitar front he has Wayne Findlay helping on 7-String guitar and keyboards to flesh out the sound, finally he has the adaptive vocals of Doogie White who is doing his best Biff Byford on this album. Things kick off with the almost Into The Arena style intro to Neptune Rising before the heavy riffage of Where The Wild Winds Blow kicks in in true MSG style. This is an album that covers all of Schenker's career with the UFO style of Horizons to the Celtic flavoured Lord Of The Lost And Lonely which has some amazing Schenker solos. This is a far superior album to the first Temple Of Rock record the songs are bigger, better, badder and Schenker is on top form as are his backing band, with these songs and his back catalogue he makes for an exciting liev prospect and also a damn good album too. 8/10

Armory: Empyrean Realms (2013)

Look at their name, look at the album title. Now guess the genre? If you said European Power Metal you'd be half right. Armory are Yanks that stand in the shadow of Manowar and emerge with more symphonic bluster than you could handle. This is almost Rhapsody-like if they were fronted by Tobias Sammet, from the off Eternal Mind starts things with in fine style with the amazing dual guitars of Joe Kurland and Chad Fisher bringing some huge riffs, melodies and solos who work in tandem with keyboardist Peter Rutcho to provide some amazing melodies rich with layer upon layer of riffs and melodies all of which are pure European power metal. The drumming of Joe Kurland (on the album, Tom Vieira in live) is also immense full of blast beats and drive all the songs along when coupled with the galloping fingerstyle bass of Thomas Preziosi see the amazing rhythm of the epic Dreamstate which has Stratovarius written all over it. This is a great album that blends progressive/power metal with the awesome vocals of Adam Kurland who sounds so much like Tobias Sammet it's uncanny, especially on Beyond The Horizon which has the hard rock stomp of Edguy before it changes tempo and pulls out some killer solos. Armory are American yes but they have a clearly European sound with lots of melodic solos, huge keys, powerful drums and bass topped with some top class vocals, this is a band doing it themselves and doing it right. The songs are complex, well written, expertly performed and yes it is technical but it is not ridiculous like Dragonforce the solos last just long enough to entice and cast a spell without outstaying their welcome, the production too is excellent crisp, clear and bright. An absolute treat for power metal fans, I urge you to find this album and buy it, it is fantastic!! 10/10

Diamond Plate: Generation Why? (2011) & Pulse (2013)

Diamond Plate are thrash metal band from Illinois, they have two album both of which I am going to review here. First up is Generation Why? which is their debut full length and starts out well with some serious thrash riffage on the title track and Pull The Trigger. The guitars of Mario Cianci and Konrad Kupiec are awesome with lightning fast riffage and razor sharp solos galore on all eleven tracks, the drums of founder member Jim Nicademus are also great with blast beats galore throughout. The bands major downfall are the vocals of Jon Macak whose death metal like delivery (eg grunts and screams) are not good and detract a bit from every song, the instrumental song More Than Words is one of the better tracks along with Casualty Of War and the eight minute plus Empire Tomorrow. So for a debut this is strong on the instrumental front but is let down a lot by the vocals. 5/10
Next is their sophomore album Pulse which is a marked improvement on the debut, this could be due to the wholesale line up change leaving just Kupiec and Nicademus as the only two originals left from the first album. This album kicks off with the faded in intro of Walking Backwards which shows that the band still have the same strong musicianship, however the major improvement is with bassist/vocalist Matt Ares who has a much better voice than his predecessor somewhere between Mille Petrozza and James Hetfield meaning he has a snarl on the groove infected All Of It but can also croon on the big, ballsy Rainmaker. A much better album than the debut showing the need of a good vocalist! 7/10

Ronnie James Dio – This is Your Life

Okay, I'm going to get the following off my chest straight away.
This is a stonking album which highlights the huge variation in RJD’s work through the years.
It is for a good cause – The Ronnie James Dio Stand Up and Shout Cancer Fund
Ronnie James Dio was an iconic figure in the world of metal. I had the pleasure of seeing him live several times, most notably on the Holy Diver and The Last in Line tours in the 1980s as well as with Butler, Iommi and Appice in Heaven & Hell and he never disappointed. However, and I await the backlash here, for a proportion of his career he produced some absolute guff and several of the latter versions of Dio struggled to sell out smallish venues like the 02 Academy in Bristol. The constant adulation in death of a man who was shunned by much of the metal community whilst alive disturbs me. There. I said it.
Now onto the album.
As I said, this is a storming album with covers of classics from RJD’s time with Rainbow, Sabbath and Dio featuring a veritable smorgasbord of the metal world’s highest profile stars. This, combined with several combinations of former Dio members makes it an album which you cannot fail to sing along to whilst raising your horns in salute.
Anthrax kick proceedings off with one of Sabbath Mark II’s finest tracks, the power house of Neon Nights. Joey Belladonna does a fine job in matching RJD’s vocal range, and to be fair is one of only a handful of singers around who could do so today. After their butchering of Rush’s Anthem, Anthrax have redeemed themselves here. The Last In Line is next, skilfully delivered by that most metal of duos, Tenacious D who inject their own humour and quality on a Dio classic. This is one of the highlights of the album. The same cannot be said of the Ronnie Rising Medley which pops up later from Metallica. This does absolutely nothing apart from butcher four Rainbow classics. Why they couldn't have just picked one, such as their thrash version of Kill The King, is beyond me.
Further proof, if any was needed, that Sabbath remained a force to be reckoned with after Ozzy is demonstrated in the title track from the second album with RJD, the barnstorming The Mob Rules, with the almighty riff ably delivered by the Adrenaline Mob. Back to the Dio era for Rainbow In The Dark with a stunning vocal performance from Corey Taylor, ably supported by Stone Sour colleague Ray Mayorga and Satchel from Steel Panther amongst others. This is excellent stuff. The same cannot be said of Halestorm’s cover of Straight Through The Heart, which is formulaic, lethargic and adds nothing to the original. Startstruck, one of Ritchie Blackmore’s finest is ably covered by Motorhead and the powerhouse vocals of Biff Byford, with the Saxon frontman reminding you that he still has a fine set of pipes. A delicate and delicious version of Rainbow’s The Temple of the King by Scorpions. Klaus Meine adding his unique vocal delivery to by another of the Blackmore and Dio era compositions. The Germanic theme continues with the first lady of metal, the lovely Doro delivering a striking cover of Egypt (The Chains are On) in her own style before the much praised KSE version of Holy Diver blasts into view. A couple of decent collaborations follow with members of Dio’s band combining with Glenn Hughes on Catch The Rainbow followed by I with original Dio bassist Jimmy Bain combining with Lynch Mob’s Oni Logan and Rowan Robertson. What strikes you here is that no-one can match the Iron Man, Tony Iommi, for pure unadulterated evil riffage. Talking of metal gods, the unmistakable vocals of THE METAL GOD Rob Halford, combined with even more the talent of Vinnie Appice and former Whitesnake and Dio guitarist Doug Aldrich amongst others give another Rainbow classic, Man On The Silver Mountain the Southern treatment. Halford’s vocals aren't what they used to be and he plays it clever here, maintaining a much lower level of pitch than he is renowned for. It works. The album closes with two contrasting tracks. Firstly This Is Your Life, a haunting piece which originally appeared on Angry Machines in 1996. Dio in full flow demonstrating his quality accompanied by Scott Warren on piano. My version finishes with a really powerful cover of Buried Alive from Dehumaniser by Hatebreed’s Jamie Jasta’s solo band Jasta.
Despite my irritations, overall this is an astoundingly good album, which highlights just how many top class songs RJD touched with his magic over the years, particularly with Blackmore, Iommi and Butler alongside him. It’s “Bloody good”, as the great man often said. 9/10

Massacre – Back from the Beyond

American legends Massacre return after two decades with a massive slab of in your face Death Metal and boy does this melt your face off from the start. Being an old fart of many years in age, I can vaguely remember the name of Massacre from the mid 80s when thrash began to mutate into the Death genre. I admit I wouldn't have been able to have named any of their stuff. However, this is a band steeped in tradition with original guitarist Rick Rozz playing on the Death album Leprosy. Members of various incarnations of Massacre have appeared with Obituary, Kreator and Whiplash in addition to Death.
The latest line up emerged in 2011 and Back From The Beyond is result, a cheeky play on words given that their debut album way back in 1987 was named From Beyond. The album opens with the atmospheric intro The Ancient Ones before Massacre launch head long into opener As We Wait To Die. As a statement of intent it’s pretty powerful stuff. Massive bone crunching riffs, thunderous drumming in the Lombardo/Adler camp and the guttural growl of Ed Webb absolutely spot on. However, unlike much of the Death metal camp, Webb’s delivery is such that you can actually distinguish much of what he is growling about. He has more than a touch of Randy Blythe in his style which in my book can only be a good thing.
Ascension of the Deceased follows and again is full force aggression. However, there is a massive groove running through all of their tracks, most noticeably on Succumb to Rapture which really has a huge Lamb of God feel about it. Whilst there is an element of the formulaic about Massacre, I have to say that this album absolutely bloody rules. Every track powers along with Shield of the Son having a Testament tinge. Brutal break downs hammer at you from every angle and every time you manage to get back to your feet another slab of brutality slams you down on your back again. Webb’s vocals impress throughout with the powerhouse back line of founder and bassist Terry Butler and Mike Mazzonetto’s drumming pummelling at every opportunity. Rozz’s guitar work is superb, slicing solos at every opportunity. Things speed right up Slayer style on The Evil Within and before you know it album closer and possibly best track Honour the Fallen ensures that you are left totally breathless but strangely desiring of more. If you like a bit of heavily groove laden death metal combined with a dash of Slayer and bay area thrash, then make sure you get a slice of this album at the earliest opportunity. If you can get to Radfest on 3 May in Builth Wells you’ll have the opportunity to see these guys destroy. I’m gutted I’m gigging elsewhere that night. Totally recommended. 9/10

Lacuna Coil – Broken Crown Halo

The seventh long player from Italian outfit Lacuna Coil is a bit tasty for fans of the band. However, if you aren't, then this isn't going to change your opinion one iota. Following on from their 2012 release Dark Adrenaline which I thought was decent enough, Broken Crown Halo opens with the usual power and pomp that you’ve come to expect from Lacuna Coil in the shape of Nothing Stands In Our Way. Stomping guitars laced with subtle keys and the delicious voice of Cristina Scabbia ably supported by the gruff vocals of Andrea Ferro. The tempo picks up for second track Zombies which allows Ferro to open up a bit; unfortunately Scabbia’s vocals are better and they really help to propel the song along. This is the last album to feature Cristiano "Pizza" Migliore and Cristiano 'CriZ' Mozzati, both long time members who had been with the band since 1998. It’s a fitting enough epitaph for both of them, with Mozzati’s drums given a solid level in the mix and Migliore’s guitar complementing other axeman Marco "Maus" Biazzi.
For me the appeal of Lacuna Coil (yes, there is something apart from Scabbia) is the songwriting of main composer, bassist and keyboard player Marco Coti Zelati, which combines catchy melodic elements with some much heavier passages. This is especially noticeable on tracks such as Victims, where the slower quieter tempo allows Scabbia’s softer vocals to contrast with a heavier delivery to support Ferro’s growling. Die & Rise is another fine example of Lacuna Coil at their best; hooks galore and a thumping beat driving the song along. Ferro takes the lead on this one and it works; Scabbia taking a back seat but adding harmonies to the chorus. Perhaps the biggest compliment I can make is that as soon as you hear this album you know that it is Lacuna Coil. Obviously the distinctive vocals of the Scabbia/Ferro combination are the main clue but I also think the band have developed a distinctive sound. As well as the melodic metal they also do a good bit of power ballad style as demonstrated in the album closer One Cold Day. This is another solid album from a fine band who are always good live. Whether it will push them any further forward is debatable, but I for one always enjoy their output and Broken Crown Halo is no exception. 8/10

Edguy: Space Police: Defenders Of The Crown (Nuclear Blast)

Tobias Sammet is a man of two musical minds, one being the ott symphonic Avantasia project on which he is the leader of a massive band of musicians and singers and the other is his more straight up rock/metal band Edguy which he started at 14. The oddly titled Space Police: Defenders Of The Crown is Edguy's 10th album and according to the ever humble Tobias it's their best work, now most will think that Hellfire Club is their best album, personally I think the trifecta of Hellfire Club, Rocket Ride and Age Of The Joker are three of their best, would Space Police be up to Sammet's opinion of it? Yes it is in a few ways, the old school power metal is there from the opening salvo of Sabre & Torch which has the Teutonic fury of their early see (Mandrake and Hellfire Club) work as well as some massive backing choruses. This leads into the title track(s) first of which is the catchy, melodic, hard rock grunt of Space Police which is straight off the Rocket Ride album and has a Hawkwind style synth in the middle of the song which adds to the spacey feel to the song before the rampaging Defenders Of The Crown has all the hallmarks of a Maiden classic, which has a galloping rhythm section from Felix Bohnke (drums) and Tobias 'Eggi' Exxel (bass), some killer guitar solos from Dirk Sauer and Jens Ludwig and you get Tobi's awesome vocals throughout. The eclectic nature of the album continues on Love Tyger which is so 80's it actually hurts, think Reckless Love with more spandex, then comes the cover, a bit of Germanic genius in the shape of rock cover of Rock Me Amadeus, which is the first song they have done in German. So the humour and irreverence is still here in spades, the metal comes with The Realms Of Baba Yaga and Shadow Eaters the ballads come with Do Me Like A Caveman and mega ballad Alone In Myself. The album ends with the 8 minute plus epic The Eternal Wayfarer (The bonus tracks on the special edition are the Queen-like England which is Tobi's anglophilia in full swing and the Def Leppard pastiche Aychim In Hysteria). This is possibly the definitive Edguy album bringing everything from their back catalogue together in one place, yes Tobi may think it's the best but by listening to it I have to agree with him. 9/10

Admiral Sir Cloudesley Shovell: Check 'Em Before You Wreck 'Em (Rise Above)

The grease returns, yep denim clad hairy herberts Admiral Sir Cloudesley Shovell are back! Packing more fuzzy, filthy, furious riffage with a lot of LSD inspired psychedelia. With a sound harking back to Sir Lord Baltimore, Dust, MC5, AC/DC, Budgie and early Quo boogie ASCS have been gaining more acclaim since the release of their debut album, primarily through their incendiary live showings (where this kind of music is at its best). Still with all the crackle and pop (and yes snap) of old 70's vinyl ASCS kick off with the bass heavy, punk riffage immediacy of Do It Now which immediately shows the talent, Louis Comfort-Wiggett's thumping bass, Bill Darlington's primal drums and Johnny Gorilla's flanged and fuzzy guitars are combined with his howls to create some serious proto-metal. The BOC-like (and brilliantly named) 2 Tonne Fuckboot continues things in strong style with its heavyweight riffage before the trippy, Captain Merryweather provides and 8 minute, narcotic fuelled freak out, replete with some eastern flavour that wouldn't be out of place on Ravi Shankar's discography. Another riotous slab of molten metal from ASCS showing that no matter how much our music evolves there is always a place for ballsy, brash, meat and two veg rumbling metal. Another good album of animalistic rock with tracks like Shake Your Head, the voodoo bass heaviness of Don't Hear It...Fear It! and Bulletproof (which explodes into a big ending solo) and the rapid fire spit and sawdust of The Thicker The Better. Another good album from ASCS which takes you back to the smoke filled clubs of yesteryear with a one fist in the air and a bottle of Newkey Brown in the other. 7/10

Tuomas Holopainen: The Life And Times Of Scrooge (Nuclear Blast)

Tuomas Holopainen is the keyboardist and leader of symphonic metal band Nightwish; he is key to their stirring symphonic sound and has always aimed at producing a more cinematic feel to their music (see Imaginarium). Finally his dream has been realised with his first solo album, the album neglects the metal crunch of his day job and focuses solely on the orchestral/cinematic part of his musical output. The Life And Times Of Scrooge is not based on the Dickensian redemption story but instead the Disney adventurer/tycoon/multiplujillionaire Scrooge McDuck, an odd storyline for an album yes but for anyone that has read the comic novelisation it full of drama and adventure all of which is suitable fodder for a concept album. Things start off well with opening narration of native Scot Alan Reid before the Celtic flavoured Glasgow 1877 kicks in fuelled by the London Philharmonic orchestra and the Uilleann Pipes and low whistles of Troy Donockley (ex-Mostly Autumn, current Nightwish), the album is mainly instrumental with the countrified Into The West coming next full of Holopainen's saloon style piano and a lot of banjo to really put the point across, Duel & Cloudscapes is the song most similar to Holopainen's day job with its epic feel and big organs lending it similarities to Hans Zimmer at his most overblown. The story has very few vocal parts with the Metro Voices providing the choral accompaniments to the orchestral soundtrack, Tony Kakko appears on Cold Heart Of Klondike and with Johanna Kurkela (who provides a stunning performance on A Lifetime Of Adventure) and Johanna Iivanainen being the voice of McDuck's secret love and Scrooge's mother respectively before the final track features Reid's lilting singing voice accompanied by just an acoustic guitar ending things in a reserved but emotional style. No this is does not fall under the metal banner but it is an inspired, excellently played, stirring soundtrack based on what is actually quite an enthralling story. Nightwish need to look out as Holopainen will definitely be on many people's lists for film scores after this, an excellent album that while not being anything like the keyboard maestros day job it will still appeal to anyone that loves great music! 8/10

Triptykon – Melana Chasmata (Century Media)

The follow-up to 2010’s Eparistera Daimones from Thomas Gabriel Warrior’s Swiss extreme metal outfit is an absolutely stunning piece of work and already in the running for album of the year in my book which is high praise indeed when you consider that both Anathema and Opeth have released scheduled shortly.
Opening track Tree of Suffering Souls begins at a blistering pace with huge drums and ferociously driven guitars, accompanied Warrior’s trademark gruff vocals. The intense opening lasts a full four minutes before the tempo slows slightly albeit with a continuing power that few bands can achieve. The track is inspired by French artist Jacques Callot series Les Miseres et Les Malheurs de la Guerre (The Miseries and Misfortunes of War ). It is instantly recognisable as a work of the former Celtic Frost and HellHammer man, with the subject matter in Callot’s work depicting the destruction unleashed on civilians during the Thirty Years' War; with the tuned down guitars and changing time signatures combined with Warrior’s haunting lyrics screaming “I am your lie” through the track. Clocking in at close to eight minutes, Tree of Suffering Souls provides you with all the clues you need for the rest of this album. If you like your music to talk about sex and drugs and rock ‘n’ roll then walk on by. This isn’t for you.
Boleskine House, track number two is a song that Warrior notes in his sleeve notes that he has carried with him since his Celtic Frost days. Both brutal and beautiful, this is possibly the track of the album. Boleskine House was of course the residence of Aleister Crowley, located on the shores of Loch Ness. The track has some stunning musicianship on it, driving rhythm from bassist Vanja Slajh, and some very eerie guitar work from Warrior and V. Santura. However, the haunting vocals of Simone Vollenweider combined with Warrior’s delivery and Santura’s backing vocals converge to provide the most melancholic track on the album. Altar of Deceit follows, and whilst it is flippant to refer to any of Triptykon’s work as straightforward this one is about as trademark as they come. Huge slabs of riffage, baleful vocals and some intricate guitar work combine to provide a slower but still epically heavy track. Next up is Breathing, which was the track premiered prior to Melana Chasmata’s release and this is a monster of track. Opening with some quite massive doomful riffs the track then hits you with freight train speed before continuing to vary in both pace and delivery with some huge hooks which will incite the pit at Solus in December. The famous “ooh” delivery from Warrior returns here before an all-out rampage in true death metal style towards the end of the track. An absolute favourite with blistering drumming from Norman Lonhard.
Aurorae is probably the most melodic track on Melana Chasmata, with massive gothic atmospherics throughout. It builds steadily, with a wall of guitar and melancholic vocals. Another track that Warrior revealed has been in embryonic state since the Monotheist days of Celtic Frost. Demon Pact follows with a slightly slower tempo but remaining crushingly heavy. In The Sleep of Death is pure Celtic Frost with Warrior’s drawn out vocals and some ominous guitar work. Once again a track that builds throughout with mighty drumming before returning to an eerie crescendo. Ironically, given the extreme metal badge that Triptykon are labelled with, this track is a homage to Emily Bronte and the title refers to the last line of her poem Sleep Brings No Joy To Me. The music in this track is wholly Santura’s and damn fine it is. Penultimate track Black Snow is an epic 13 minute piece initially penned by Warrior in, as you would expect, a snow covered clearing in a forest in Norway in December 2008. Another majestic track, with swirling guitars and pounding rhythms, Black Snow snakes its way around you, demonic lyrics creating an image of impending doom. Album closer Waiting is the second track on the album to feature the delicate voice of Simone Vollenweider. Another track with a hugely gothic feel, it features enormous riffs followed by intricate and elegant passages with Vollenweider’s delivery almost bewitching. A superb closing track to one of the most extraordinary albums ever written. As always, the art work in the album is by H. R. Giger, who Warrior has been associated with for over 30 years. The package is superb. This is absolutely stunning in every aspect. 10/10

Conan – Blood Eagle (Naplam)

Liverpool doom outfit’s latest release Blood Eagle came out a couple of months ago so apologies for the tardiness of the review. The Liverpool three piece are about as heavy as you can get, huge slabs of slow riffs and chanting vocals which oozes Sabbath and Electric Wizard throughout. Listening to this album is like repeatedly hitting your head on a brick wall, but in a good way. Opener Crown of Talons is ten minutes of hammering doom; enough to split your skull. You may not want to listen to this in a confined space as there is a strong chance that your cranium might fracture. Jon Davis on guitar and vocals, Phil Coumbe on bass and vocals and Paul O’Neil on drums combine to provide an immense sound, crushing all who dare to get in their way. There is no subtlety to this release. Total Conquest continues where Crown of Talons finishes, with more grindingly heavy guitar and bass with smashing drums and the same soaring voices. Synchronised changes are evident throughout, as Conan plough on like an out of control steam roller. Whatever you do, don't listen to this bad boy with a hangover. If you need any further description of what Conan sound like then merge High of Fire with The Sword and then get your best mate to hit you over the head with a sledgehammer. Yeah, that'll do it. Foehammer actually ramps up the pace for a bit but doesn't drop the pounding at all and continues to provide an absolute aural assault. And it doesn't stop for another 22 minutes as the remainder of the album continues in a similar vein. If you want your metal as heavy as a battleship then this is for you. Once again, if you want Steel Panther, you'd better keep on walking. In my view it blows every cobweb away, and whilst it can be a little repetitive, there can be no doubting that this is one of the heaviest releases of the year. 7/10

Katatonia – Kocytean (Peaceville Records)

A limited edition release for Record Store Day this is a six track EP from the Swedish band Katatonia. As melancholic a band as there can be, Katatonia’s sound has evolved substantially from their early death metal days into one that is much more intricate and delicate, whilst still retaining a sadness which continues to provide the themes that run through their music. This release groups together some rare b-sides and opens with Unfurl, a delicious piece which was originally released as a b-side to July and Soil’s Song in 2006 that allows Jonas Renkse centre stage. Sold Heart, a b-side to the Longest Year from 2009’s Night is the New Day features some intricate guitar work from Anders Nystrom and the usual time changes that one has come to expect from Katatonia. Ashen is a slightly more up-tempo track and is again from the Night is the New Day era, as you can tell from first listen. The EP also contains two tracks from the extended versions of their last album, Dead End Kings, Second and The Act of Darkening, both delivered in similar vein with a number of time changes, Renkse’s voice dominant without being overpowering and the musicianship elegant and fragile at times. Code Against the Code from 2006’s Deliberation EP is a beautiful track, and again highlights Nystrom and then guitarist Fredrick Norrman’s excellent fretwork. Whilst there is nothing new here for dedicated fans of the band, it is a tidy addition to an impressive catalogue of work. It will be interesting to see how the band’s direction continues to develop with the recent loss of guitarist Per Eriksson and drummer Daniel Liljekvist. 7/10

Anti-Mortem: New Southern (Nuclear Blast)

Oklahomans Anti-Mortem are down home Southern metal filled with swagger and lashings of groove along with some serious aggression. Imagine if you will a mix of Black Stone Cherry, Hellyeah, FFDP and yes (of course) Pantera. The band are all windmilling hair, Dean Razorback's, groove riffage, southern soul and some strong vocals from Larado Romo who is backed by his brother Nevada Romo and Zain Smith both of whom provide the riffage that Dime would be proud off. Corey Henderson and Levi Dickerson on bass and drums respectively anchor the heaviness with some serious hard hitting rhythm. The band are being hailed as BSC with an angry streak and this is true to a point but I think the band are a broad spectrum of influences meaning that yes Pantera will come to mind from the opening of Words Of Wisdom which has thrash like aggression. This is before the more soulful title track goes down like a bottle of Southern Comfort and things get stompy with the groove laden 100% Pure American Rage which show off Romo's snarl. The change in style comes on Black Heartbeat shows off his Romo's clean crooning on a ballad BSC would be proud of before things get back to normal on the chest beating I Get Along With The Devil which is pure Death Punch. A very good album from this Oklahoma mob, some pit inciting metal with serious groove and some killer song writing insure that if you come from the Pantera/FFDP school of Southern Groove metal, then you will love Anti-Mortem its powerful and melodic metal full of Southern grit!! 8/10

Lesser Key: Lesser Key (Sumerian Records)

The Lesser Key is a new project from former Tool bassist Paul D'Amour and in his words "represents an exploration into personal and artistic freedom." This is a bold claim from anyone especially someone coming from an abstract place like Tool, D'amour has rounded up a band in the shape of guitarist Brett Fanger, drummer Justin Hanson and they are rounded off by vocalist Andrew Zamudio. So does this self-titled EP live up to D'Amour's words or is it all just hyperbole? Well yes the album is very free flowing, full of experimentation and shifting dynamics, along with angular guitars, cascading drums and D'Amour's pulsating bass at the forefront. Yes there is a lot of artistic freedom but then D'Amour hasn't come from a band that were narrow minded as a result Lesser Key is not far removed sonically from the Tool mothership, the creeping doom like riffage of Intercession kicks things off nicely showcasing all the elements I have mentioned before you hear Zamudio's emotional vocals. Obviously Tool is not the only reference point the band also have nods to modern progressive champions Tesseract with their ambient-yet-heavy delivery (see In Passing Through and Pale Horse) as well as the more laid back emotive power of Anathema. This album ebbs and flows throughout its six songs, yes there is a similarities between them all but that’s part of the point, much like with Tool, this is all about the feel, it’s all about the pictures painted and visions created by the sonics. A heavy trip of an EP over too soon, not the exploration into artistic freedom mentioned but certainly an exploration into psychedelic modern prog! 8/10

Gloryful: Oceans Blade (Massacre Records)

Coming out of nowhere (well North-Rhine Westphalia) with a critically acclaimed last year (stupidly missed by your reviewer). Power metal troubadours Gloryful have returned with their sophomore album. The title and artwork scream Dragonforce and Gloryhammer style silliness but Gloryful are more restrained in their power metal madness. The band have a sound not too dissimilar to Grand Magus with some heavy riff based traditional metal. Whereas the debut was swords and sorcery things get nautical this time, bringing to mind Rock N Rolf and Running Wild. Hiring The Dead has the fist pounding riff, melodic lead breaks and solos galore from Vito Papotto and the aptly named Shredmaster J.B. The vocals of Johnny La Bomba are indeed good, he has a grizzled vocal that can go to growls and high croons, similar to Matt Barlow however after 10 songs his vocals can grate a little bit as they are not a varied as Barlow’s. The musicianship however is amazing throughout, check out the drumming on E Mare, E Libertad and you will be floored by the blast beats, as for the rest of the songs they are all suitably trad metal with some scorching riffs, galloping bass lines and big gang choirs, there is no let up until the acoustic Black Legacy which aims at Blind Guardian campfire mistraling. Yes a great album for anyone that likes galloping trad metal, however I feel the vocals let it down a little. 7/10

The Temperance Movement – Shepherd’s Bush Empire

My first trip to the Shepherd’s Bush Empire and the first of two opportunities to see Classic Rock’s Best New Band of 2013 in short succession. Having been blown away by a storming set at the Steelhouse Festival last summer as well as missing the opportunity to see them later in the year at The Globe, the opportunity to see the British Blues and Rock outfit whilst in London was one I wasn't going to turn down. Despite the ball ache of a tube strike, it was surprisingly easy to get to Shepherd’s Bush via London Overground and I arrived at the venue which has, like several other O2 venues, been slightly tarnished by the mobile phone company’s sponsorship approach. My location for the gig was on level 3, which for those of you who have never visited the venue is high up. Although a little way from the action it affords a smashing view of the whole hall, with some rather ornate coving and architecture which I think would have been a little difficult to appreciate from the stalls. It also allowed me to sit back and watch the bands from on high, providing a different perspective from that which I usually obtain.

Anyway, onto the support act. Brother and Bones are a five piece Alt-rock outfit from the UK who simply oozed class. With a very enthusiastic crowd lapping up every note, the band delivered an impressive 35 minutes which included tracks from their two EPs; 2012s For All We Know and last year’s five track offering To Be Alive. The band, who comprise Yiannis Sachinis on drums, Simon Robinson on bass, James Willard on guitar, Robin Howell-Sprent on percussion are led by the charismatic Richard Thomas who provides acoustic guitar and voice. Having researched them a little more after the gig it would appear that Brother and Bones are already widely tipped as one to watch and I would heartily endorse this. They can rock with the best of them but it is their acoustic numbers that really make them something special. I don't really want to compare them to anyone but I suppose that Kings of Leon would be a reasonable similarity but that might be doing both bands a disservice. They are delivering a full acoustic set at Cardiff on 3 May which will be something not to be missed. 8/10

Last July the editor of this illustrious blog and I (along with the incredible Brett Perry) stood in a field on the top of a mountain in Ebbw Vale and watched TTM deliver 40 minutes of classic blues rock with all the swagger of The Faces, The Black Crowes and of course the Rolling Stones. Their self-titled debut album which was released shortly afterwards was a beautiful slab of rock fused with elements of soul, country and in passages almost evangelical in delivery. Led by the hyperactive Glaswegian Phil Campbell, TTM delivered a fantastically paced set, opening with the upbeat Ain't No Telling with Campbell whirling like a dervish. He cuts shapes like a young Iggy Pop (minus the cock in your face), dancing across the stage, unable to stand still for a second. The band followed this with Battle Lines before an extended Take It Back where some improvisation demonstrated the talents of the rest of the band. Guitarists Luke Potashnick (ex-Rooster and Ben's Brother) and Paul Sayer complement each other beautifully, with both demonstrating some mean axe work as well as the more delicate side of their craft. The rhythm section consists of former Jamiroquai bassist Nick Fyffe (who has also deputised for Roger Glover in Deep Purple, no less) and Australian-born drummer Damon Wilson, who has played with the likes of Ray Davies, The Waterboys and Feeder. The set naturally featured the bulk of songs on the debut album. They debuted a new track in Oh Lorraine which nestled perfectly comfortably amongst numbers that have already become firm fan favourites

After a brilliant version of Only Friend TTM lowered the tempo with a beautiful version of Chinese Lanterns that segued into Lovers and Fighters with Campbell adding some acoustic guitar to proceedings. The main set closed with Know For Sure which left the packed house asking for more.
If you are a fan of TTM you'll already have worked out the encores: The glorious Pride which had goose bumps on the skin before the evening was wrapped up with a rousing Midnight Black. An hour and a half of top quality music which absolutely flew by. If you like a bit of good time rock ‘n’ roll then make sure you catch these guys. They are absolutely stunning and destined to go on to much bigger things. 10/10

(Editor's note: After witnessing the band in Cardiff, I wholeheartedly agree with Paul, The Temperance Movement are certainly one of the finest live bands on the circuit, never has electrifying been such an apt term. Brother And Bones Richard Thomas performed an acoustic solo set too which was stirring and very an excellent warm up, his voice is amazing!)

Nervosa: Victim Of Yourself (Napalm Records)

Riding in from Brazil Nervosa are an all female thrash band that are hell bent on showing us blokes what thrash still has to offer, and damn… they sure shut us up! Debut album Victim Of Yourself opens with a spooky almost haunting track “Twisted Values” that lulls you into a false sense of security before kneeing you hard in the nads. Twisted Values is an all out thrash delight filled with sludgy riffs that fall into quick fire fret shredding screams accompanied by thumping rolling drums delivered powerfully by Pitchu Ferraz. All this combines to bombard your ears in a harsh but somehow satisfying sound. The highlight throughout this album is the voice of bassist come vocalist Fernanda Lira, the beauty of her vocals is that she is sharp, edgy and has all the qualities of a cleaner Angela Gossow however she seems a lot more at ease; the closest I can compare her to is the voice of Deaths late Chuck Schuldiner. She can shriek and growl and you still want to hear more… it’s sinister yet almost memorizing. The album continues to plough on through in this heavy, deep and creeping motion throughout, however it does take the time to make you listen in awe as guitarist Prika Amaral throws in brilliant melodic solo’s that break through the crushing riffage, this really is the element that makes this album what it is. The ladies from Nervosa clearly want to break us with their immense talent and the sounds they produce, but at the same time realize the danger of becoming stagnant in doing so. From “Nasty Injury” to “Mosh Pit” the album shows class hard work and also when needed a little bit of fun (Mosh Pit in particular). Every track is brimming with the signature bass and rumbling heavy riffs until the final track “Uranio em Nos” that is a much more frantic off the handle track that epitomizes everything about these girls; utter passion for the music they have produced here. In all honesty I can’t recommend this album enough, its fast yet the tone is slow and sludgy, the musicianship is brilliant and I really do think the vocals of Fernanda are up there with the best thrash vocals ever to grace the genre. Not necessarily just for the sound but also for the control she adheres to with it. Despite all this Victim Of Yourself doesn't necessarily break any new ground, which could be seen as a bad thing? Yes, but what Nervosa do he is take us back to old school thrash and fine tune it a little 9/10.

The Graviators: Motherload (Napalm Records)

The Graviators was formed deep in the woods of southern Sweden, their third album Motherload; with a mix of heavy yet melodic riffs, that takes you on a trip back in time, when bands like Black Sabbath and Pentagram took heavy rock to new heights. Motherload really is a piece of musical intrigue. Describing themselves as “70’s hard rock” I can see where the lads are coming from, however they also have a grungy stoner undertone that is hard not to exaggerate. The first two tracks: “Leifs Last Breath; Dance of the Valkyrie" and “Narrow Minded Bastards” scream the aforementioned bands Pentagram and Sabbath respectively. Rammed full of bass laden rhythms and bluesy stoner riffs plodding along at a steady pace Martin Fairbanks (Guitar) and Johan Holm (Bass) carry this album beautifully with a power of direction. “Tigress of Siberia” is where this album really started to take me aback. Opening with a four-minute instrumental of outstanding and proficient balance it bounces along hypnotically in a swing like possession. As the pace picks up slightly the unmistakable vocals of Niklas Sjöberg enters the scene and with little effort he sets out to regale us with his Ozzy like cavalier tone and attitude. From “Tigress of Siberia” all the way through to “Drowned in Leaves” the album keeps you interested and does not lose your attention for a second. Chocked full of flawless solo’s courtesy of Fairbanks that brings songs such as “Corpauthority” and “Tigress of Siberia” to stunning crescendos. Along with Fairbanks and Holm’s undoubted talent we are treated to a truly perfect five plus minute blues come swing instrumental during “Lost Lord” that left my jaw wide open and pupils dilated… this truly was perfection. Soft frenzied keyboard topped with slow groaning bass lines and supported beautifully by the controlled skill and attuned ear of Henrik Bergman on drums, wow! The final few tracks from Motherload: “Eagles Rising” and “Druid’s Ritual” follow a similar pattern only with a more psychedelic edge to them, the latter being a fourteen minute epoch of pure original unadulterated skill, passion and heart. Every member of this band contributing their part flawlessly with obvious pleasure, you really don't hear this often enough in music of any description. The beauty of this album is that despite its eighty-minute length, by the end of it you still want more. The Graviators have a recipe that is really unique and quite frankly bold but faultless; keep the steady grungy stoner laden tone throughout the album but then hey! Why not throw in some blues? Or some swing? Or even a bit of psychedelic edge? While your listening have some brilliant solo’s and crashing riffs too! No need for endless vocals here, only when it’s right. None of this should work, none of it! Yet somehow it does and I can’t help but think to myself… I want more! Ultimately, if you don't like this album, then you're not just “not a fan of metal”, you're not a fan of music I’m afraid! 10/10

Omnilarity: Ameliorate (Unsigned)

Ok, so I’m not sure where to really place these guys from Chino CA. They're very much instrumental, minimal vocals here. Fusing all kinds of metal into each other as well as other genres of music completely into metal. Omnilarity represent a brave bunch of lads whose work and gall has paid off. Each track very much individual due to the very nature of the bands concept, which in turn makes this hard to review with the space/time I have. So the one thing I need to get across is what these guys do, they do damn well! Impressive from the off each member of Omnilarity show off there unquestionable skill and technical aptitude. Brennan Netherton on guitar is able to melt our very brows with burning solos from out of nowhere then turn his hand to some slow jazz with great resonance, while Bassist Duke Gray is able to do the same. Supporting a furious metal attack of sound with precise plucking to laying down a beautifully leaping bass line when the band hit the slower genres they chose to infuse. The highlight of this band however and ultimate kudos here goes to drummer Daniel Amaral; this guy is truly sensational! Firing out ridiculously paced blast beats that Danny Herrera himself would be proud of one second, to delicately tapping his Hi Hat and leading a blues number mid track, the skill and sheer athleticism of Amaral’s drumming is astounding! This 8 tracked debut album is a great conquest of brave trial and error at its best, its unique concept means you have to keep on listening to hear what the lads of Omnilarity have come up with next, and they never let you down… not for a second. Fusing thrash metal with swing, Death riffs with a bluesy breakdown and techno keys with ripping solos all with ease of success. The only other thing can really say here is go out and buy this album and make of this unique brand/concept what you will, these guys are a small band that deserve a hell of a lot more praise and listener ship than I’m sure they’re getting. Bands like this is where the future is at, lets make it happen! 9/10

Temples Festival – Motion, Bristol 4 May 2014

A quick trip across the Severn Bridge on a sunny bank holiday weekend to visit the inaugural Temples Festival was too tempting to miss. We parked up in the vibrant city centre early on Sunday afternoon near our hotel and fought our way through the heaving throngs enjoying the glorious weather. 25 minutes later we arrived at the Temples Festival, located close to Temple Meads Railway Station. This was day three and I'd already heard good things about the festival which had seen well received performances from a range of bands including headliners Electric Wizard and one of the heaviest sets ever witnessed from Neurosis. One fellow metaller told me that he had never heard anything so loud in his life.

The layout of this festival is simple. Located in the Motion venue on the edge of the River Avon, there are two stages which adjoin each other, a merchandise section and ample outside seating with numerous bars and food stalls. Okay, the beer was pretty limited, with staples like Red Stripe, Guinness, Stowford Press cider etc. available in cans at relatively high prices but there was the option to wander in and out at will. Anyway, I appeared to manage to get rather bolloxed without leaving the site for more than half an hour (Where I did manage one of Brett Perry’s magnificent 7.8% French lagers.)

We were too late to catch Lionize who were also supporting Clutch on their current UK tour which was a bit gutting especially as Ant, who had travelled to see the evening’s headliners Clutch in Nottingham the night before raved about them all the way to the venue. However, we arrived in time to catch the last half of Black Moth’s set which was a bonus. The Leeds outfit, led by vocal powerhouse Harriet Bevan have a doomy Sabbath infused sound which is really infectious and for 15 minutes we were pinned to the wall by the wave of sludgy metal. Mental note to self: check out their debut album The Killing Jar as soon as possible. A great introduction to the festival. 8/10

Next up for us was Beastmilk, from Finland who inevitably became known as Breastmilk for the rest of the day. These had been on my radar since early this year when the infectious Fields of the Nephilim sounding Death Reflects Ushad appeared on a Classic Rock compilation CD as one of the bands to watch in 2014. I clearly wasn't alone as the second stage was full to capacity. The ‘Milk (as I shall call them) didn't disappoint with a number of tracks of the excellent release Climax. Led by the excellent vocals of Kvohst their sound is a mix of Joy Division, The Mission, Killing Joke and even a dash of Echo and the Bunnymen, albeit with a slightly heavier tinge. Standout tracks for me were Surf the Apocalypse and the already mentioned Death Reflects Us which received a very enthusiastic response. 9/10

Featuring former members of Taint and Whyteleaf, Welsh outfit HARK drew a healthy crowd in the main arena. Fusing angry post-punk with elements of sludge and doom, HARK got straight to business with a run through tracks from their latest release Crystalline. Guitarist and vocalist Jimbob Isaac can riff with the best and demonstrated this throughout, cutting and scything out at will. Ably supported by bassist Nikolai Ribnikov and drummer Simon Bonwick HARK are a driving force who gallop along at full force. Excellent stuff and when Neil Fallon joins them for Clear Light of … which he also contributes to on Crystalline then you know they can't be bad. 7/10

After a quick breather we headed back towards the front for the Bristolian power trio Gonga. Described as a heavy stoner band, Gonga are an instrumental outfit who defy the word heavy. Formed in 1998 by brothers George Elgie (guitars), Thomas Elgie (drums), they (line-up completed by bassist Latch) proceeded to lay waste to all around with wave after wave of deep powerful free styling that shook the very foundations of the building. At one point I’m convinced my liver had realigned itself and I had to keep a check on the walls just in case masonry began to break lose. However, there is also huge groove to this band and as I scanned the crowd everyone was nodding along vigorously. These guys don't play short stuff mind, with the opening two tracks clocking in at close to ten minutes each. This was captivating stuff and no-one left during the set. Finishing to an almighty ovation Gonga are one I will definitely see again. 8/10

I have to admit that we took a bit of a break after this and spent a couple of hours enjoying the lovely evening whilst catching up and having a couple of drinks. Having watched a few minutes of Doomriders, but not enough to make a genuine comment, we headed back to the front to wait for Clutch. This meant I only had chance to stick my head around the corner to watch death metal legends Repulsion blasting their way through a powerful set. However, at my age and at 23:15, I need something to lean on and the barrier provided an inviting space for me.

Now, this was my fifth time of seeing Maryland’s finest, Clutch, and most of them have been close up. What hasn't changed is the raw energy that this band, now nearly a quarter of a century, possess. What has changed is the quality of their music. Latest album Earth Rocker was the album of 2013, and having seen them at London’s Forum on the Earth Rocker tour, I knew the new stuff fitted into the set like hand in glove. Clutchrarely if ever play the same set twice, and once again they threw in a couple of gems. Kicking off with the immense The Mob Goes Wild, they laid down a 75 minute headline set of absolute quality. Delivering a huge nine tracks from Earth Rocker, the set also included some older gems. Pure Rock Fury got the place moving with Neil Fallon in fine form, all bluster and shape cutting. One of the world’s most under rated drummers, Jean-Paul Gaster combined with Dan Maines to provide the backbone whilst Tim Sult delivered some absolutely stunning fret work. The Yeti from The Elephant Riders was a welcome addition as well as blinding versions of Gravel Road and The Regulator. The main set closed with The Wolf Man Kindly Requests and then a more traditional ending of Electric Worryand One Eye Dollar from Jam Room rounded off a thoroughly brilliant set. This is a band that just gets better and better. See them whilst you can. 10/10

Prong – Ruining Lives (SPV)

Legendary New Yorkers Prong return with one of the definitive musical statements of 2014. This album is the musical equivalent of the book that is impossible to put down. It is so addictive you’d swear it was laced with crack. Following 2012’s Carved in Stone, Ruining Lives kicks off at breakneck speed, machine gun style drumming, huge beefy riffs and Tommy Victor’s distinctive clean vocals propel through opener Turnover. The tempo doesn't let up at any point with the mix of styles that have made Prong’s distinctive sound. The fusion of hard-core, punk, metal, thrash and a large slab of industrial all combine to provide some stunning performances. Remove, Separate Self has all the hallmarks of a classic, smashing along in rapid time and laced with a hook so catchy you might need to check in at the STD clinic afterwards. Indeed, this album has hooks galore throughout; so many that the rest of the metal world may well have a drought for the rest of the year. Victor produced this album and has done a great job, with the vocal delivery in particular outstanding. Title track Ruining Lives is an angst ridden delivery, with more massive riffs and drumming pounding throughout. The sound is huge, powerful and menacing. The band that brought you Snap Your Fingers, Snap Your Neck, one of the metal genres ultimate riffs, do it again on Absence of Light, which has possibly the most groove and hook on the entire album. For a three piece, this is an astonishing piece of work, Victor’s guitar work never over exaggerated but incredibly effective whilst Tony Campos on bass and Alexei Rodriguez (drums) provide the most solid rhythm section. Rodriguez’s drumming is very impressive, in particular on the total thrash out The Book of Change, which is likely to turn the hallowed turf at Catton Hall into a dust bowl or mud bath depending on the weather. There is not a bad track on this album. It grabs you by the nuts, throws you around for the best part of 40 minutes before leaving you in a gasping heap. Snap your fucking neck indeed. 9/10

Black Stone Cherry – Magic Mountain (Roadrunner)

Kentucky outfit BSC’s highly anticipated fourth album Magic Mountain is another large helping of sing-a-long arena rock with the Southern tinge that we've come to expect. Opener Holding On … To Letting Go is a galloping rocker with which on first impression suggest that this album may well be a bit heavier than the band’s last release, Between The Devil and the Deep Blue Sea. Rapid drumming from John Fred Young and some killer guitar work from Chris Robertson and Ben Wells provide a balls out track. The band then revert to type with Peace Pipe, a more traditional style BSC track full of multiple harmonies. Bad Luck & Hard Love highlights the impressive vocals of Chris Robertson, which combines some intricate guitar playing and a good helping of riffs. Of course, BSC’s entire sound is built on the fact that all four members of the band contribute vocally in the tradition of the best Southern boogie bands. Magic Mountain is likely to propel BSC to the next level. Second stage headliners at Download in 2013 and arena tour this autumn indicate the direction that this band are heading. Catchy first single Me and Mary Jane has anthem written all over it, and has been provided with sufficient exposure on the likes of Planet Rock and Team Rock to ensure that we will all be singing along in the horrible Motorpoint Arena come October. Runaway is possibly my least favourite track on the album. Full of cheese and sickly harmonies, this is a real lighters aloft track and sits alongside Things My Father Said as the tracks that the whole arena will sing along to when the band lower the tempo during gigs. Title track Magic Mountain is a different story altogether, much more in your face but with an incredibly catchy hook on the chorus. It leads nicely into the second half of the album, driving forward at some pace. And it is the second part of the album where things begin to hot up. Never Surrender is a decent rock and roll track with some trademark BSC guitar work. Sometimes bring the tempo right back down; a delicate acoustic piece that really allows Robertson to release one of his best ever vocal performances. I shall probably use it to have a pee when we see them mind! The remaining tracks (there are 13 on this album – it is VFM for sure) are pretty much standard BSC fare. The usual stomping anthemic delivery with their trademark sound. And that’s not a bad thing. All in all this is a decent offering and one that will cement BSC’s place in the arena rock division alongside the likes of Alter Bridge and Nickelback. 7/10

Insomnium – Shadows Of The Dying Sun (Century Media)

Melodic death metal - a bit of an oxymoron at times right? Have you ever tried to explain to someone who isn’t a metal fan what the genre actually is? Is it the combination of growling and clean vocals? The all out thrash combined with huge hooks and melody? Or is it easier to hand them a copy of an album by Insomnium? Well, Shadows of the Dying Sun is probably THAT album. The long awaited follow up to 2011’s excellent One For Sorrow, Shadows of the Dying Sun could well be a melodic death metal masterpiece. Opening track The Primeval Dark is incredibly atmospheric, building slowly with Niilo Sevanen’s growling vocals and seguing seamlessly into While We Sleep, a six minute epic which ebbs and flows. Clean vocals; yep. Perfect. Death growls; oh yeah. They are all present and correct. While We Sleep contains sweeping hooks, breakneck drumming, soaring guitar solos and driving rhythm. It also contains deliciously sweet break downs with acoustic elements and whispered vocals. Revelation continues the delivery, with a gentle introduction before blast beats and manic riffing kick in, and then back to the more gentle delivery. This is an album full of contrasts and massive technical ability. Listen to any Wintersun opus and you’ll have the exact idea. The dual guitars of Markus Vanhala (superb metal name!) and Ville Friman complement each other perfectly whilst Sevanen’s bass work combines with Markus Hirvonen’s majestic drumming to propel the Finns through each track. However, unlike Swedish compatriots In Flames, Insomnium have more hooks and much more melody. These guys can write songs that you don’t forget quickly and this is a real grower of an album. Black Heart Rebellion clocks in at a shade over seven minutes, but you don’t notice that as you are drawn into the intricate construction and power. At times sheer brutal thrash, at times intricate and gentle, yet always with harmony and riffs. Black Heart Rebellion could be the stand out track on this release … until you get to The River which really gets the heart pumping with its power and pomp. Another long one, this time just under eight minutes, Sevanen’s vocals focus on the death growl for the majority but that fits perfectly. Time changes galore, thunderous drumming and once again riffs delivered in such abundance you’d think they were going out of fashion. (Riffs out of fashion for metal? Discuss!) Ephemeral is an out and out thrasher, and then you get yet another epic, The Promethean Song which is beautifully constructed with a deliciously fragile middle section and chorus framed by the more aggressive elements. The title track is also the album closer and is another outstanding track. In a year that has already delivered some absolutely stunning work, this rightly stands alongside the best. 10/10

Epica: The Quantum Enigma (Nuclear Blast)

So a concept album based on a physics could only come from the thinking man's symphonic metal band. The brainchild of Simone Simons and Mark Jansen (no stranger to these pages). This is the band's sixth studio album and shows the Dutch band moving forward and looking backward at the same time. This album has the heaviest songs Epica have ever recorded, Jansen and Isaac Delhaye's guitars rip and snort chomping on the bit from the opening strains of The Second Stone through The Essence Of Silence and the djent-like VIctims Of Contingency, obviously Jansen's work with MaYan has rubbed off on his day job. New boy Rob van der Loo ploughs the basslines and Ariën van Weesenbeek's drumming pulverises. So the metal part is heavier than ever with every track featuring some neck snapping heaviness, but what about the rest, the other elements that set Epica apart? Well the symphonic elements of Coen Jansen are impeccable with strong synths and pianos throughout that work in conjunction with a full string quartet meaning that unlike many bands the classical elements are as authentic as possible. Vocally the album is very strong too with Simone's amazing operatic vocals being the main focal point but with Marcela Bovio's background vocals, Jansen and Weesenbeek's grunts, guest vocals from Textures' Daniël de Jongh on the majestic 13 minute title track, the album has rich vocal tapestry that means that every strong is strong vocally. All the vocalists are excellent in their own right but when they sing in conjunction with a chamber choir it gives the album an almost cinematic scope. The album has a break with the Asian flavoured interlude The Fifth Guardian before the death metal-like riff of Chemical Insomnia kicks things off again until the obligatory ballad on Omen-The Ghoulish Malady brings the sing-along quality to the record. Five albums in Epica have brought their symphonic roots crashing into the modernity meaning that they have at last found their sound, with a seriously heavy album this is a clever, complex and genuinely exciting album and possibly Epica's career best. 9/10

Imelda May: Tribal (Decca Records)

So with the rumbling double bass of Al Gare hitting you like a steam train from the off Irelands rockabilly queen Miss Imelda May is back with her band of misfits singing songs of love, death, and craziness all with that old school, slicked back brothel creeper authenticity they do so well. Yep the rock, the jazz and the R&B is here in droves and with Darrell Higham's fuzzed, guitar stabs moving everything along nicely, from the surf rock of Wild Woman which evokes the spirit of The Surfaris or The Trashmen, to the country chicken-picking of It's Good To Be Alive with some great lead breaks and the romantic waltz of Gypsy In Me. Again May's band are amazing with the strings, drums and brass all working together to create some soulful, rockabilly music fresh from the 50's but also distinctly modern. Imelda May shows why she was chosen as Jeff Beck's vocal muse, her voice is amazing full of verve on the rockier tracks like Hellfire Club and full of soul on the ballads like Little Pixie which sounds like John Phillip Baptiste's Sea Of Love albeit with juxtaposed lyrics!! The first single It's Good To Be Alive (complete with Bride Of Frankenstein video) is a little throwaway but i guess that is kind of the point, its just a feel good anthem. With the success of her previous album Mayhem and the relative inactivity coming from being a mother that followed meant that she had to come back with a killer album and she has done so, Tribal is the next step on the ladder for Imelda May showing that all the old songs are the best!!. Put on the leathers, fire up the chopper and get yourself down to the nearest juke joint as Tribal will definitely be the soundtrack to your next Jive contest without a doubt! 8/10

Salem's Pot: ...Lurar ut dig på prärien (Easyrider Records)

From the name you can guess what kind of music Salem's Pot play, this is creeping, crawling, bone rattling, brain frying stoner doom metal. This is their first EP (translates to Lurking...you out on the prairie or something similar). From the Hawkwind-esque opening to the 14 minute first track Creep Purple which is full of swelling psych synths before the searing doom bass of Peter drives things along with the drums of Direktörn providing the (dead)beat, top this with the reverbed, squealing, feedback drenched guitars of Knate who also has some howling vocals. With three songs all over 9 minutes Salem's Pot bring the occult, drug fuelled sludgy almost oppressive metal of Electric Wizard and drags it over 3 songs meaning that this EP is a hell of a trip for those botanically inclined (and I don't mean gardening). 6/10

Down: IV-Part II (Down Records)

The NOLA legends are back with their second of four EP's and as is the norm with Phil, Pepper and co this is riff city!! Set your riff counters to unlimited as they just keep on coming in true, stoner, doom, southern metal style. This is the first Down release not to feature Kirk Windstein however unless you knew you wouldn't notice as replacement Bobby Landgraf does a great job as Pepper Keenan's sideman bringing the riffage and solos to the six tracks that are boosted by the rumbling heaviness of Patrick Bruders and long time sticksman Jimmy Bower who smashes his kit with aplomb. Phil Anselmo as usual does his usual southern snarl and banshee scream. The emphasis of these 6 tracks is on the doom metal style, from the opening dirge of Steeple which then evolves into a fist pounding rocker that wouldn't seem out of place on an Orange Goblin album, a serious riff fest to kick things off and the pace rarely lets up from there, sliding straight into the classic Down stomp of We Knew Him Well which also has a reverbed almost voodoo vibe with it's repeated refrain of "Rise Up!!". Hogshead/Dogshead is a sprawling guitar filled track that changes time signatures throughout. Then we get onto Conjure which is prime Sabbath down to the Iommi-like riffage and Geezer-like bass, this slow moving vocoder filled, ode to the white stuff (not snow) is so like the Birmingham Iron Men, it's practically a lawsuit waiting to happen, still it is just another element of Down's expansive repertoire, the album ends with the heavyweight Bacchanalia which smashes along heavily until the final part which is an acoustic comedown. This is another great EP in this coming quadrilogy a true riff monster of a record and one that will kill in the live arena! Roll on Bloodstock!! 9/10

The Black Keys: Turn Blue (Nonesuch)

Dan Auerbach and Patrick Carney return with their eighth album, their previous release 2011's El Camino was very upbeat and catchy, however due to much excess the two men have taken all this time to release their follow up because of their fried-mental state this album is a sprawling, mind bending trip of an album. The songs are longer, slower and more expansive in sound, yes there are still some awesome R&B rockers with the funk fuelled 10 Lovers and Gotta Get Away which ends the album in an upbeat style. However for the most part these tracks are in stark contrast to the sparse, trippy, hippy haze of the Weight Of Love which is part Hendrix, part french electronic rockers Air. The electronic backing of the title track drives it along Carney's drumming coming to the front here, the synth filled Fever has a bit of New Order or INXS about it. All of these electronic and sampled elements are probably the continuing influence of producer Dangermouse who is much apart of The Black Keys sound as Carney's excellent drumming and Auerbach's guitar stabs, blues howls, along with everything else these men do. The result is an album that comes straight out of the vinyl Stax records era, through the 90's trip hop scene and right up into modern era. The band have always been talented and have been able to mix their styles but their albums have always had a theme of sophisticated modern blues rock however with Brothers, El Camino and Turn Blue they have crafted three unique and equally excellent albums that have a wide musical scope show exactly how good these two men are. Another great record in The Black Key's purple (blue?) patch 9/10

John Wesley: Disconnect (InsideOut)

John Wesley is the touring guitarist of Porcupine Tree and as such he is the guitar foil for Steven Wilson, this inevitably means he has to be good and he is very damn good. His guitar playing is simply staggering, technical, precise yet understated. He solos amazingly but he also has some serious songwriting chops as well, yes there is a lot in common with his day job (as there has been on all of his solo albums) with a melodic, slightly alternative metal with lots of progressive elements.Wesley manages to be progressive without having to rely on noodling, most of the songs are four to five minutes long but feature time, pace and stylistic changes with Any Old Saint being the longest song on the album at 7 minutes. The album mixes some touching melancholic acoustic tracks with some modern progressive rock replete with some sterling guitar work (another feature of his early work. Wesley's voice too is excellent very gravelly to carry emotion but also melodic enough to be listenable. Obviously with a man of Wesley's talents he will attract talent and Disconnect is no exception as he has assembled a great studio band to play with him, the guitar of Dean Tidley is the perfect foil for Wesley's freakouts and he even provides some killer solos of his own, the rhythm section of Patrick Bettison's bass and the drums of ex-Iced Earth Mark Prator also keep things solidly locked in tight leading the time changes. He has also got a few great guests with Geri X providing some welcome female vocals to the proceedings and most notably Rush axeman Alex Lifeson provides his six string magic on Once A Warrior. If you have never heard John Wesley before and you are a fan of Porcupine Tree, Fish or even Sound Of Contact then pick up Disconnect as you will not be disappointed, then download the man's discography for free from his website (what a nice chap he is!) 8/10

Hanggai: Baifang (Harlem Recordings)

Hanggai hail from China via Mongolia and they play in a loose term folk music however they also dabble in rock, folk, punk and indie. They mix them all together to create an album of great songs with a myriad of styles. Things kick off with a Mongolian chant and straight into the driving Oriental instrumentation of the title track which has some massive percussion lots of morin khuur (a kind of one string bow) and tobshuur (a two stringed large guitar), authentic Chinese instruments that lend the band a very appealing sound on top of the pulsing bass and the rocking guitars. The vocals come from Ilchi and Ileta and they are very sonorous and melodic from both men, as well as the normal vocals they both use Mongolian throat singing to great effect, this is seen on both Hershut Hero and the Pink Floyd-like Tavan Hasag. This album takes you back to a simpler time, this is Hanggai's idea, they long for the pastoral folk of their past and this album achieves it along with some modern rock and punk stylings. At 18 tracks album may seem a little long but many of the tracks filter into one and other and with some real show stoppers like the title track, the rocky Hong Galou, the plantative Ulanbator Nights, the reggae style My Mother and the simply awesome Western themed Beautiful Mongolian Horse. A hell of an album from the Chinese band which is rich in scope and full of strong songs, no it's not metal but in parts its as heavy as!! 7/10

Crimson Blue: Innocence (Molot Records)

Russians Crimson Blue are a Gothic metal band with some progressive and nu-metal touches. Singer/Keyboardist Dominica has a bewitching voice, which is both poppy and dark. The heavyweight guitars and bass of Iceland are a counterpoint to Dominica's keys. This is followed by the slap (5-string) bass filled L.M.A which is straight off a Korn album. Yes there is that killer word the band have a lot in common with the Nu-metal masters, as well as Tool and Evanescence, mainly due to Dominica's soprano vocals. Clouds is a driving rocker which has some amazing guitars from Iggy Hans and Stan Lee (not the comic empresario). This is a band that could easily support bands like Korn, FFDP, Deftones, Tool but also more traditional female fronted fare like Within Temptation especially on Ave Sensorium. The down tuned Flax comes next replete with of head banging break down. This is an album full of some excellent songs that are equally heavy, melodic and hark back to the early 2000's with nods to the early dark prog rock scene with some electronica thrown in on the djenty 7 minute H. U. Lab Experiment I - The 6th Sense. This is a great album from Dominica, Iggy, Stan, Andrew and Alex who all work together to create some strong, technical but melodic modern metal. 8/10

Seneron: Order Restored (Self Release)

Seneron are a power-trio that hail from Derry in Ireland and they play balls to the wall hard rock in the style of Attica Rage and Viking Skull, this is leather clad, alcohol fuelled biker rock full of big hooks, massive guitar riffs and some grizzled vocals from John Shields. Please Me, Stand Your Ground, Dead Stare and Just A Kid all have similar sound relying on big drums from John Hamilton, powerhouse bass rhythms from Ivor Ferris and lots of distorted riffage to get you pumping your fist and reaching for the cans!! These Irish boys could quite well be my replacement for the sadly now defunct Trucker Diablo as they have the same qualities as their countrymen, they too beat around you the head with their songs and with just the four songs on this EP they really do impress on their first time out. A band that will be a definite live attraction with their heavy riffage and feel good factor, get your denim, polish your leather and get ready to bang your head because Seneron play back to basics heavy fucking metal!! 8/10

Slavedom: Against The Fire (Self Released)

Slavedom play traditional heavy metal, with elements of Metallica, Maiden and a big heaving leap Iced Earth thrown in as they merge some thrash elements with the classic gallop of NWOBHM. Coming from Kastoria in Greece, the band definitely have the riffs with some dual guitar riffery coming from George Stavridis and George Apostolakis, the galloping bass of Sakis Sarafas and the heavyweight drumming of Christos Polyzos, this three song E.P is very well produced and kicks off with the fist pumping title track which brings to mind Iced Earth with Apostolakis' voice ranging between growls and high pitched shrieks much like Matt Barlow's. Apostolakis' voice one of the deciding factors on this EP you will either love it or hate it, I started out not liking it but it has grown on me after repeated listens, on Follow The Sun the he has a uncanny knack of emulating Geoff Tate's emotion filled cry before things finish in fine style with No Tolerance which again has a lot of Iced Earth about it as well as a Steve Harris-like bass break in the middle. This is a very well executed debut EP from these Greek boys, lots of traditional/power metal influences, filled with some face melting solos and big songs. A great debut!! 8/10

Arch Enemy: War Eternal (Century Media)

Losing a lead singer is always hard for a band, they tend to be the most personal part of the band it's the voice that we the public relate too. So when Angela Gossow announced that she was stepping down as front-person of Arch Enemy (she continues to be the band's business manager) the metal world was shaken a little. Here was the defining element relinquishing the reins of the band she made her own. However as the death/thrash riffage of Never Forget kicks in all the worries are dispelled as new girl Alissa White-Gluz, formerly of The Agonist, immediately starts roaring and growling like the great Warrior Queen herself. Gluz's vocals are excellent echoing Gossow's banshee like screams but also bringing her own twist to the album, as in her former band she alternates between clean and harsh vocals, so because of this she has a slightly more melodic approach. It is for these reasons why she was handpicked by her predecessor no doubt. As for the other elements of Arch Enemy they are all present and correct, the drums of Daniel Erlandsson are head crushing, blast beat after blast beat laying down a battery of noise, Sharlee D'Angelo bass holds everything together rhythmically and allows founder member Christopher Amott and new boy Nick Cordle to lay down some neck snapping riffs and face melting solos. This album is relentless with all the band firing on all cylinders every single song, As Pages Burn and No More Regrets are two such songs that just destroy you with their ferocity before the more melodic You Will Know My Name and the instrumental Graveyard Of Dream gives you a respite before the Stolen Life rips your throat out again and things change up with the black metal influenced Time Is Black which even has some orchestral elements to it which brings another dimension to the song giving it more menace than just the straight up anger of the rest of the album. So is there life in Arch Enemy after their matriarch? The definitive answer is yes, this album is excellent it is far better than it's predecessor Khaos Legions it is simultaneously: aggressive, melodic, catchy and bone breakingly violent to listen too, the production job is crystal clear ensuring maximum volume. If you like your music with a side order of whiplash then check out War Eternal as it's an absolute stormer!! 10/10

Killer Be Killed – Self Titled (Nuclear Blast) [Review By Paul]

The long awaited result of the super group Killer be Killed is well worth the wait. This is a super group of quality musicians led by the formidable Max Cavalera and Greg Puciato from The Dillinger Escape Plan. The line-up is completed by Mastodon’s Troy Sanders and former The Mars Volta stickman Dave Elitch.
The album kicks off at breakneck speed with Wings of Feather and Wax, which is a real fusion of styles from all of the band. And it continues in this vein throughout, Face Down is much more Soulfly in sound with an aggressive vibe, pounding rhythm and Cavalera taking the lead on vocals for one of the few occasions, but with Sanders calmer delivery providing an excellent foil. Puciato also weighs in throughout the album. The combination of styles really works although for me Sanders vocals are always going to be in the lead. Melting of My Marrow would stand alongside any of Mastodon’s best works; a formidable beast of a track with Puciato and Sanders combining superbly and a sing along chorus that will incite serious action if these guys ever get into the live arena. Snakes of Jehova has a much doomier feel with huge riffs and Puciato duelling with Cavalera before the track kicks into overdrive with Sanders vocals and driving bass lines. Elitch’s drumming is impressive throughout, varying the style on virtually every track. On Snakes of Jehova he delivers a real spread, doom followed by all out thrash with double bass drumming blasting away. Curb Crusher follows, a real driving tour deforce, delivered with a massive hook in the chorus.
The albums features a range of styles from all out thrash, hard core through to punk but all delivered in the way that you would expect from this collaboration. Fire to Your Flag really hits hard, an all-out thrasher which attacks like a drive by shooting whilst IED drips with a combination of hard core, punk and a Sabbath type breakdown with another slab of riff work; Cavalera literally spitting out his delivery. All that is missing is his obligatory AK-47 reference. Album closer Forbidden Fire is a massively trippy doom laden track which builds with Cavalera snarling whilst Sanders provides a more relaxed calming delivery. This is an impressive album which combines the talents of four excellent musicians in a way that really delivers. Well worth a listen. 8/10

Lionize – Jetpack Soundtrack (Weathermaker) [Review By Paul]

Lionize are a three piece outfit from Maryland, the home of Earth Rocker compatriots Clutch. Jetpack Soundtrack, the fifth album by the band, co-produced by Clutch drummer Jean-Paul Gaster and producer Machine (Earth Rocker; Blast Tyrant) is an absolute must for anyone who loves the groove and drive of Neil Fallon’s merry men. Indeed the Clutch links are numerous with Lionize; Jetpack Soundtrack is released on the Weathermaker label and they have just supported Clutch on their recent UK tour. Our resident Clutch expert, Anthony Hutchings was so impressed with them that he even bought this CD!
Well, apart from the obvious Clutch influence, the main thing that hits you is the massive Hammond riffs that are littered throughout. Opener Breather is a funkster style race with Chris Brooks’s keys blasting out. A hugely catchy chorus and infectious rhythm complete the package and give you a taster of what to expect. However, similar to Clutch, this album is a mixture of styles. Evolve allows guitarist and vocalist Nate Bergman to his demonstrate lyrical agility ala Mr Fallon, and also contains the brilliant line “I’ll steal your girlfriend … and I’ll eat your lunch”. Once more the Hammond drives the song forward, and there are obvious comparisons with the style of the late Jon Lord, the ultimate purveyor of the Hammond sound. Jetpack Soundtrack contains some of the album’s most groove laden hooks, and combines some jazz elements with straight forward rock ‘n’ roll and an infectious chorus. Replaced by Machines continues the addictive drive, with another contagious ear worm chorus. This whole album is catchier than impetigo and leaves you nodding along and then suddenly realising that your legs are already cutting some serious shapes. Lazarus Style and Amazing Science Facts have a beautiful amalgamation of some lyrical genius, intricate guitar and keyboards; the latter would snuggle quite comfortably on Blast Tyrant or Robot Hive Exodus. Album closer Sea of Tranquillity is a reggae influenced tune, demonstrating the band’s long standing love for the Jamaican sound. This is a real peach of an album and well worth a listen. Apparently our resident expert says they are absolutely brilliant live; a fact backed up by regular reader Benjamin Brook who was up earlier than me at Temples where Lionize kicked off Day 3. For a band that has been around for 10 years this demonstrates a continuing development and progression which hopefully will continue for many years to come. Awesome stuff. 9/10

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