Musipedia Of Metal

Welcome Back Delta: Sucker (Self Released)

Three years since their debut release Shocker Cheltenham’s Welcome Back Delta’s sophomore release is well worth the wait. Sucker is just over half an hour of blues soaked dirty rock ‘n’ roll in the style of Clutch and Lionize, to name but two. There’s foot tapping stomp of Beast Mode and Snake In The Grass, the sing-a-long Arms Dealer features Damon T and some sweet blues guitar work whilst it’s not surprise that Bison Steed from Reign of Fury pops up on the fabulously raging Dadgerous. Sucker conjures up images of the roof down on the Cadillac, cold one in hand and the open road ahead with your lady in the passenger seat (Something I’ve never felt when I’ve been to Cheltenham but hey, maybe I took the wrong road).

Joe Kelly has the whisky soaked voice ideally suited to their sound; check out Jeremy’s Iron, which shares its no-nonsense approach with the big noise of Northern Ireland’s Trucker Diablo. Rob Duncan’s guitar work is superb whilst the engine room of Phil Davies and Steve Roberts on bass and drums respectively ensure that the foundation is oh so solid. It’s not all balls out rock and the calmer soul filled The Magic Of Flight reminds you of some 1970s greats, with a single guitar riff and some delicious harmonies. The Southern feel of Black Tie would sit well alongside the likes of Atlanta’s Blackberry Smoke and who could fail to raise a smile to the dirty riffs of the innuendo soaked Don’t Hold It Against Me, Unless It Gets Hard? This is a damn fine album which deserves to be heard. Get involved. 9/10

Meshiaak: Alliance Of Thieves (Mascot Records)

I have to admit that I had a massive fondness for Aussie thrashers 4Arm to the extent that I actually pledged for their last album. Of course, by then the band had made appearances at Download and opened for some of the big thrash merchants in the States, including Slayer. However, in 2014 the voice and lead guitar of the band, Danny Camilleri left and 4Arm’s last release didn't quite match their earlier duo of long players.

What is our gain though it the arrival of Meshiaak (apparently Hebrew for ‘messiah’) which features Camilleri alongside one of the best drummers in the thrash scene, Jon Dette who has occupied the seat for Slayer, Testament, Anthrax and Iced Earth to name but four. With extra shred brought to you by Dean Wells and thundering bass lines delivered by Nick Walker, the four piece who come at you out of Melbourne have served up a very tasty slab of quality thrash metal.

It's not just heads down balls out thrash though. I Am Among You retains the power and drive but has a more complex and intricate feel, soul searching solos giving the track some real heart. The aggression which Camilleri showed with 4Arm remains and his vocal delivery continues to give that Hetfield/Araya combination which really works. Opener Chronicles Of The Dead is area. Statement of intent and Dette’s drumming is just insane. The melody provided by Wells’s backing vocals also adds to the mix. With a dash of early Bullet For My Valentine as well as the more obvious Metallica and Megadeth influences coursing through this beast, tracks such as It Burns Both Ends with a neat oriental flavour and the harmonies of the guitar work on Drowning, Fading, Falling really work and add variety to the all out assault.

This is a solid solid album, well written and excellently performed. At The Edge Of The World utilities some keyboards to provide a Trivium edged track whilst Last Breath Taken really does leave you gasping for air. This is a circle pit anthem which could do some damage given half a chance. Alliance Of Thieves picks up where Submission For Liberty finished. Get some Meshiaak in your life. It's a decision you won't regret. 8/10

Castle Welcome To The Graveyard (Prosthetic)

I have to admit I'd not come across Castle, a powerful. Three piece from San Francisco and Toronto but I'm glad I now have. Welcome To The Graveyard is their fourth full length release, not at all bad for a band that only formed properly in 2009. As the title suggests, Welcome To The Graveyard is heavy on the occult and dark themes, with tracks such as Black Widow and Hammer And The Cross not hiding anything away.

Despite the traditional doom sound of the genre being rather slow and ponderous, Castle really don't sit back and for a three piece they make an excellent sound. Al McCartney’s drum noise is loud and proud, sat somewhere in the 1970s but with a contemporary twist. Mat Davies’s guitar work is excellent and I use the comparison with Tony Iommi as high praise rather than as the standard comparison for all heavy doom outfits. His fret work on Black Widow and Flash Of The Pentagram are just two examples of his quality. Leading it all on vocals and driving bass is Elizabeth Blackwell whose voice is just so suited to Castle’s sound.

Powerful, aggressive and not afraid to really kick out the jams, Castle’s eight track release is a pretty fine piece of work. The magnificent Down In The Cauldron Bog with its atmospheric intro, haunting gothic vocals and crushing riffs is perhaps the pick of the album, but that might just be splitting hairs. It's all damn fine stuff. Get yourself down to the graveyard. You won't be disappointed. 8/10

Twilight Force: Heroes Of Mighty Magic (Nuclear Blast)

Twilight Force hail from Falun Sweden the same town as war crazed mad men Sabaton and if you think Sabaton are a little OTT then stop reading here as this isn't the band for you. Twilight Force's second record ramps up everything heard on the debut to the Nth degree, from the first moments this record is musical Marmite you'll either love it or loathe it.

Personally I love it but it is a bit immense in places with the massive layered orchestral/symphonic ingredients, the warp speed guitar playing, skyscraping vocals and general outrageousness of the record it may put even be too much for hardened power metal fans, still if you love the likes of Avantasia, Rhapsody, Aina and bands of that ilk that play concept heavy fantasy metal you will lap this up as like I said it seems to take everything done before to the next level.

Think Dragonforce and Avantasia writing songs with Hans Zimmer for a fantasy movie made by Disney and that only hints to the sound of this record. The band is made up of Borne on bass, Blackwald on keys, piano, cembalo and violin, De'Azsh on drums (the man must be a robot he drums so fast) Aerendir takes guitar along with Lynd who also has acoustics and lute to contend with while the band is rounded out by Chrileon's glass shattering vocals, he even give Fabio Leone a run for his money when he guests.

Battle Of Arcane Might kicks off at lightning speed with the solo section leading into a orchestral section in quick succession, there is no stopping from there the pace stays at almost lightspeed through Powerwind when Guardian Of The Seas merges the bands Medieval lyricism with backing choirs and more dragons than Alestorm offshoot Gloryhammer, in fact Gloryhammer or Hammerfall on speed would be another good way to describe this band.

Flight Of the Sapphire Dragon is one of the album's most cinematic songs making this writer think of Trans-Siberian Orchestra's classical metal fusion. Over the course of the 12 tracks on this record only really Epilogue gives any respite as it is purely a spoken word song but the rest of the songs are gloriously mad symphonic power metal full of folk elements and Hollywood calibre orchestration, the bouncy Riders Of The Dawn is sure to be a live favourite as is the floaty, cheesy Rise Of Hero which could be Eurovision track it's so stupendously silly while Keepers Of The Fate has a darker edge to the sound.

With most of the songs clocking in at around five minutes, the most epic songs are the title track which is finale of the album and has Sabaton's Joacim guesting on vocals and the sublime and ridiculous There And Back Again which not only takes it's name from Tolkien but has all the drama of the great writer's work, these two songs are worth the price of the record alone. It's overblown, it's absurd, it's at points overwhelming but more than that this record is brilliant, like a B-movie you keep coming back to again and again, it seems like a guilty pleasure but you derive so much pleasure from it that there is no guilt at all. Heroes Of Mighty Magic is incredible, pure joy in audio form. 10/10

DGM: The Passage (Frontiers)

DGM are an Italian progressive metal band, doing a bit of research I see that they have been around since 1994 and since then they have gone through numerous lineup changes, to the point that the current incarnation has no original members but still they continue to release melodic progressive metal in style of Circus Maximus and Symphony X.

The Passage is their ninth release and it opens with two of the longest tracks on the record meaning that at 15 minutes The Secret starts the record as you'd expect from a progressive band, with twists and turns throughout every instrument getting a workout especially the bass and drums that are key to the time signature changes. With technical proficiency throughout the album DGM show how they have plenty of experience in the prog scene the guitars and keys interact very well the keys especially give the band their emotive power.

As I've said DGM have similarities to Symphony X and also to bands such as Evergrey so much so that both Michael Romeo and Tom S Englund appear on this record, the vocals too are in the vein of Russell Allen with s gritty power to them that add the melodic touch to the songs, it's these elements that stop the band being too complicated and makes the record much easier to digest.

There's metal, rock and even some AOR on this record and the Italian band follow the great tradition of American progressive metal bands with a sturdy heavy rock base layer topped with flourishes of excellence and a keen ear for a huge hook. The Passage is a must buy for fans of Symphony X, Dream Theater and Shadow Gallery! 8/10

King Company: One For The Road (Frontiers)

As the title track starts you'd be forgiven for thinking you were listening to Whitesnake or MkIII Deep Purple and the huge slabs of organ, speedy rock guitars and bluesy vocals certainly give that impression but it's only when you look deeper you see that King Company are a Finnish act made up of members of Thunderstone, Warmen and Kiuas and they have taken a more hard rock based sound much like the primarily German act Voodoo Circle.

The band two main members are ex-Thunderstone drummer Mirka "Leka" Rantanen who has recruited Antti Wirman from Warmen on guitar and the voice of Thunderstone Pasi Rantanen on vocals with Jari Pailamo and Time Schleifer on keys and bass respectively. It's a long way away from the members day jobs in the power metal scene yes there are still the superior guitar and keyboard solos but they are more of the Lord and Blackmore than the bands day jobs.

What I did notice with this record is that Pasi's vocals are more suited to this type of music his rasp fits with the hard rock template as he delivers chest beating bravado on Coming Back To Life, AOR crooning on Wings Of Love and full on heartbreak on Cast Away. One For The Road is meat and potatoes hard rock based on the 80's and 90's traditions of Rainbow, Mr Big and Europe, it's a summer soundtrack fit for BBQ's and Beers, if you've never lost your highlights and penchant for leather trousers then One For The Road will be your soundtrack in those cold winter months. 7/10

Chris Robinson Brotherhood: Anyway You Love, We Know How You Feel (Silver Arrow Records)

The voice of The Black Crowes. A voice that can make you melt. A voice used as an instrument. I fail to see how you cannot be moved by Chris Robinson’s voice. The acrimonious relationship with brother Rich that led to the final split of the Crowes disappointed many but has led to several albums from Robinson’s Brotherhood. The latest release, Anyway You Love, We Know How You Feel is the first release to be self-produced by the band and the first to feature drummer Tony Leone and bassist Jeff Hill. It’s hell of an album, a fusion of psychedelia, funk, rhythm and blues and rock.

From the haunting emotional Some Gardens Green fine slide guitar through to the Jamiroquai soaked funk of Narcissus Soaking Wet and Ain’t It Hard But Fair, this is an album that stinks of quality from start to finish. Alongside Robinson, Neal Casal continues to provide quality guitar work whilst Adam MacDougall’s synths and keys underpin much of the album’s eight songs. At 46 minutes long it really is good value for money and stunning in its quality. Just grab a glass, sit back and relax to the likes of Oak Apple Day. Brilliant stuff. 8/10

Orphaned Land & Amaseffer: Kna’an (Century Media)

So who do you turn to when you are looking for a soundtrack to match your modern perspective on the biblical tale of Abraham? Orphaned Land lead singer and all round nice guy Kobi Farhi and Amaseffer’s Erez Yohanan seems like a good place to start. With the help of the rest of Orphaned Land, Farhi and Yohanan composed the soundtrack which consists of ballads and more mainstream metal songs about all the characters and inner conflicts of the heroes in this complex episode, a story that still reflects till this day in the three Abrahamic religions.

The first thing to comment on is that Farhi’s voice is as superb as ever, with his ability to soar given full range throughout. Secondly the musicianship is fantastic, such as the classical guitar work on A Tree With No Fruit and the rocking There Is No God For Ishma’el. As one would expect with two bands from Israel who really wave the flag for their country and the Middle East, the regional flavours which make Orphaned Land’s music so unique and appealing are strong throughout.

The quieter ballad type songs probably edge the rockier tunes, with the emotion soaked A Dove Without Wings a stand out tune. The harder edged Akeda is full of atmosphere and Uri Zelcha’s thundering bass lines combine magnificently with the haunting guitar work of Chen Balbus and Idan Amsalam. As soundtracks go, this is as good as you get and taken on face value it’s well worth a listen, especially if you are a fan of either band. 7/10

Armory: World Peace … Cosmic War (High Roller Records)

The resurgence in the 1980s has manifested itself in many ways. Recycled TV, food trends and fashion. I see people walking down the street dressed in exactly the same way a lot of my school colleagues did in 1984. Hideous fashions that were never cool. And as with all other fads, there is a little bit of a wash over to the world of metal. This currently applies to the numerous bands who have fashioned their sound on those early pioneers of the thrash and power metal scene. Which brings me to Hisingen’s Armory, not to be confused with the multiple Armory’s that seem to be around these days.

World Peace…Cosmic War takes you right back to the mid-1980s and the overlap with the formative thrash of Metallica circa Kill Em All, Slayer’s Show No Mercy and the power metal of Priest, Accept, Sacred Reich and Helloween. Throw in the breakdowns of Iron Maiden and Megadeth and you’ve pretty much nailed the sound that Armory make. So far, so good and musically there is nothing to dislike. It’s fast, it’s frantic, the drumming sounds like Animal from The Muppets is keeping time and there are riffs galore, scorching solos and some decent changes of pace. The stomp of Hell’s Fast Blades and blitzkrieg of High Speed Death are testimony to this. Unfortunately, like many good band, Armory’s sound is defined by the vocals and I’m afraid that Konstapel P’s delivery just isn’t that good.

With a mixture of Tom Araya, King Diamond and Sy Keeler of Onslaught, his shrieks become irritating quite fast. The guttural delivery is fine, and when Konstapel does this I have no complaints. His weaknesses are highlighted on Spinning Towards Doom with a quite bizarre performance. Overall World Peace…Cosmic War is an average thrash release. If you want to use your cash wisely, pick up a release from Reign Of Fury or push it towards the old school and Onslaught. A band that did it right all those years ago. 6/10

Gloryful: End Of The Night (Massacre)

German power metal group Gloryful have returned with the third album in their series of records charting the ongoing war between the characters introduced on their debut, it's the concept revolving around the Ocean Goddess Sedna and King Guerkin who leads the fight against her. However much like their two previous records you don't need to follow the thematic story of the record to enjoy it, this is modern power metal that sits in the same category as Orden Ogan or Powerwolf (who's Charles Greywolf takes the producer chair) they have powerful battle metal anthems such as Hail To The King and For Victory that come in quick succession but they also add the folk elements of countrymen Blind Guardian on End Of The Night which swaps the dual electrics for acoustics, mandolin and violin.

The band are great musicians the rhythm section of Daniel Pearl and Harmut Stoof rumble along with the pre-requisite power metal pace, flailing drumming and punching basslines are the norm on this record. While the guitars of Jens Basten and new boy Adrian Eric Weiss weave in and out in dual axe attack with solos galore but without the normal fret wankery that can infect the genre, it's all done with precision and to advance the song not detract from it.

This is high class power metal as I've said with particular focus being drawn by frontman Jonny La Bomba who has a unique vocal delivery that sets him apart in the genre on songs like the progressive On Fire and blazing This Means War his throaty rasp sits well with the music and gives the band a sound that is rare in power metal. End Of The Night continues the tradition of Gloryful producing excellent power metal that puts them near the top of the pile in what they do, it has anthem after anthem and gets your blood and your fists pumping. 9/10

Palace: Master Of The Universe (Frontiers)

Master Of The Universe is as cheesy as a large Brie, dipped in Stilton and served with a side order of Fondue. For frontman Michael Palace the 80's have clearly never ended as this record evokes the sound of Night Ranger, Bon Jovi, REO Speedwagon, Toto et al looking at the promo shots the band even look the part with stick-like frames, coiffured perms and skin tight trousers about all that's missing are scarves on the mic stands and teeth so shiny they can be seen from space.

On the back of this album though all of that could be in the future as these songs have been written for stadia, Palace himself has been an in-house writer and guitarist for Frontier records for some time working with AOR acts as First Signal, Kryptonite as well as legends such as Toby Hitchcock and Göran Edman of Yngwie Malmsteen and Karmakanic fame. So it's clear to see why this record is chock full of emotive ballads and hard rock anthems, this kind of music comes easy to Palace and his band make sure that the every song is full of big hooks.

The title track sounds like a lost Survivor song with the Tron-style keys and the massive chorus, the use of synths continues throughout the and on the fist pumping Cool Runnin'(not about a Jamaican bobsled team) the saunter in the background whereas on Man Behind The Gun they merge with the double tapped guitar soloing.

None of the song on this record are heavy yes they have guitars and solos but they are clean and much like Brits Def Leppard they are firmly in AOR camp with saccharine ballads such as Part Of Me and Rules Of The Game allowing Palace to show off his vocals matching with the pacier songs for pure bubblegum AOR deliciousness. Many of the heavier readership will loathe this record but if you love your music with a side order of Gouda then Master Of The Universe will definitely not be a Stinking Bishop. 7/10

Wretch: Wretch (Bad Omen Records)

Wretch was formed in 2013 by front-man/guitarist Karl Simon, out of the ashes of Indianapolis doom merchants The Gates Of Slumber, the band's name comes from the final TGoS record The Wretch. After this last record and the EP in 2013, bassist Jason McCash quit the group, sadly in 2014 McCash passed away Simon has used the debut Wretch record as a cathartic way of dealing with his friends death, Running Out Of Days is dedicated to Simon's lost friend and kicks you in the guts immediately.

Due to the circumstances surrounding the record the doom metal contained on this record is more raw lyrically than usual with the lyrics dealing with loss, addiction and burden hitting home more so than usual as the low and slow riffs bludgeon your ear drums. Simon's guitars maintain the fuzzy, reverbed tone for the entirety of the record as it changes pace between huge power chords and faster riffs, Bryce Clarke's bass aides perfectly slotting in like Simon's fallen comrade did throughout their TGoS tenure, with the riffage sorted the percussion is down to former TGoS drummers Chris Gordon and J.Clyde Paradis (now also sadly deceased) and both of them thunder behind the kit on this 7 track record.

In a marked difference to TGoS the songs on this record are truncated most not more than 5 minutes the only exception being Icebound clocking in as over 8, along with the a Judas Priest cover Winter, (from Rocka Rolla no less) the record also features two instrumentals that do well to break up the record. Wretch serves as a fitting tribute to Jason McCash and as a fierce new beginning for Karl Simon. 8/10

Running Wild: Rapid Foray (SPV)

Whilst many of their contemporaries are now grinding to a halt through death, old age or disease, Hamburg’s incredible Running Wild, formed in 1976 show the same longevity that applies to the mighty Maiden, Saxon and the like. With over 18 million sales and a massive following across much of Europe, Running Wild’s 16th album Rapid Foray is just splendid stuff. Although only Rolf Kasparek (Rock N Rolf) remains from the original line up, which I suppose undermines my opening praise, this is as good a speed metal album as I've heard for many a year. Sure it follows the traditional blue print which all the great German bands do, anthemic choruses, colossal riffs and stomping rhythm section but if it ain’t broke, then don't fix it. Opener Black Skies, Red Flag takes no prisoners, whilst Stick To Your Guns sits firmly in the Accept/Saxon ball park. The title track will no doubt induce large amounts of pogoing with its poppy feel and driving guitar.

Rapid Foray is predominantly written and performed by Rolf and guitarist Peter Jordan and the production, also by Kasparek is excellent. With a change of pace on tracks like The Depth Of The Sea (Nautilus) and a magnificent 11 minute closer Last Of The Mohicans this is a superb vintage power metal release that will no doubt be lapped up by their legions of fans. How about a slot at BOA next year please? 8/10 (Bloodstock Under Jolly Roger? I support that! - Ed)

Twisted Sister: Metal Meltdown Live (Loud & Proud)

The first live show after the death of drummer AJ Pero, recorded and filmed at The Joint at The Hard Rock Hotel in Las Vagas, Metal Meltdown is a decent record of the might of Twisted Sister in the live arena. Although you can't match seeing the band in the flesh, the tracks on this 90 minute release really do capture the heaviness that is not always apparent with this historic outfit, who are now drawing their 40+ year career to a close. From opener What You Don't Know to closer S.M.F, Sister go for it on what was clearly a massively emotionally charged evening.

Dee Snider proves his vocal quality on every track whilst the rest of the band including the exceptional drumming of Mike Portnoy are quite blisteringly ferocious. Although Snider delivers identical patter to that recently seen at their final UK show at BOA, the tribute to Pero is heartfelt and moving. What does let him down is some quite awkwardly inappropriate comments to the disabled section. Calling the “handicapped” section “pussies” for not getting down the front? Hmm, even tongue in cheek this makes uncomfortable listening. The production isn't brilliant and the crowd sound smaller and distant at times. Not quite the roar you’d expect. Still, with tracks like Under The Blade and Burn In Hell kicking ass and a stunningly good Come Out And Play you can't really knock it. I'd rather get hold of the set from BOA but in the meantime join the sick mutha fuckers one last time. 7/10

Vicious Rumors: Concussion Protocol (SPV)

In the midst of the maelstrom of thrash and power metal that stormed out of the Bay Area in the early 1980s, San Francisco outfit Vicious Rumors were both prominent and under the radar. Over 35 years later and the band continue to churn out high quality power fuelled metal with Concussion Protocol album number 12. With founder Geoff Thorpe continuing to thrash and shred with the best, this is a solid powerful reminder that, just like Running Wild, the old school often do it best. The stomp of Victim Of A Digital World and the all out assault of Chemical Slave with its Exodus infused attack are just two examples of the quality.

The band comprise Larry Howe on drums, guitarist Thaen Rasmussen, bassist Tilen Hudrap and the vocal prowess of Nick Hollerman and together with Thorpe they form a tight unit who deliver a quite excellent and vintage 12 track release. Catch the mix of Testament and Overkill on Chasing The Priest or the melodic hook laden Last Of Our Kind, with a riff to lose your mind to. Galloping bass lines introduce the foot stomping Take It Or Leave It which would sit neatly in the Metal Church catalogue, screaming guitar work and Hollerman’s Geoff Tate like screams combined with a more gutteral Udo Dirkschnieder delivery. Piece de resistance is the ten minute powerhouse of Life For A Life which has a filthy riff, Till Lindermann type lyrics and which you can't leave alone. It's that good. Once more the old school, albeit reinforced by some younger members are making a decent groove. Well worth checking out. 8/10

Bewitcher: S/T (Heretic Fire Records) [Review By Paul]

Blackened speed metal. Yes, we all love a bit of this at MoM towers. Welcome not to hell but to Bewitcher, a three piece outfit from Portland, Oregon whose self-titled album leaves nothing to the faint hearted. With the ridiculously named, wait for it, Unholy Weaver of Shadows and Incantations on guitar and vocals, Infernal Magus of Nocturnal Alchemy pounding the bass and best of all, introducing Diabolical Crusher of Hallowed Light on demonic drumming, it's hard to take these fuckers seriously. However, if you like Venom, these guys will be right up your street. It’s unsophisticated but quite brilliant 100mph stuff and with tracks like Speed Til You Bleed, Wild Blasphemy and the mighty Harlots of Hell who am I to argue. It’s fast, it's filthy, demonic and satanic with a vocal delivery reminiscent of Cronos circa 1982. Get down to the coven, sacrifice your goat and get into the fires of hell. I love it. Hail Satan. 8/10

Outright Resistance: Me Vs I (Self Released) [Review By Stief]

Having seen these guys at BOA 2016, it was only right we review their second EP Me vs I. Starting with a bit of spoken word, the title track seems to surround both the internal and external struggles involved in bullying, with the voices goading the main person to 'do it, kill 'em'. Thought provoking stuff before the band starts building up to some brutal heavy metal. Every song is oozing with passion and anger, and you can tell the band's no-nonsense, come-at-us attitude is genuine, heavy riffs from Michael "Grandad" Worsley and Joe Jacobs, Chris Everett laying down some chunky bass and Michael "Nelly" O'Neill blasting the drums. However, it is "Captain" Paige Lee's voice that pushes this band from just another heavy metal band to something special. Having witnessed Paige and the band perform live, it's no different on the tracks, and you can tell she is channelling her passion and anger into every syllable. This band are championing positivity, with Prove Them Wrong pushing for everyone to do just that. It's a brilliant message and I think this is just the start of Outright Resistances career. Definitely a band to keep your eye on in the future, here's to a full album soon! 10/10

Odin's Beard: Anaphylaxis (Self released) [Review By Stief]

Odin's beard and the concept of this album were created at BOA 2015, when a group of friends started to chat about how annoying wasps are, and now a year later, we have Anaphylaxis.
With song titles such as Fuck Off Wasp, Float Like A Butterfly, Sting Like A Wasp and Wasp In My Beer, you can kind of guess the underlying theme of this album. On the surface of it, the album is very amateurish, the production is lacking but the band makes up for it in comedy value, and at the end of the day, it's a group of friends dicking about singing about Wasps. Merv and Tina Harris lead the band, but due to the low production value of the album, you don't seem to get the full effect of their voices, and this feeling carries on into the rest of the band's sound. The album encompasses a good chunk of the metal spectrum, with Wasp in My Beer opening with an almost operatic intro, before moving into some great hard rock riffage. Sting Operation with a NWOBHM riff before turning into a punk song. The album is a mixed bag, even dipping into rap with The Blood, The Sweat, The Talc, a beastie boys style song about 'Betty Swollocks'. Overall, it's a great album, and with better production, Odin's beard could make it into my top comedy metal bands. 6/10

Whiskey Myers: Mud (Thirty Tigers)

Texans Whiskey Myers broke this side of the pond with their previous record Early Morning Shakes and since then they have been graciously welcomed with open arms by the British rock crowd and press, so much so that their second album Firewater was re-released for the British market, since their last album they have supported Cadillac Three on their last UK tour as well as supporting other high profile names, nabbing spots at Ramblin Man Fair and going out on their own headline tour of the UK. With all this focus on the Texan band it can be said that their fourth record Mud is anticipated and it does live up to the expectation that is certainly surrounding it. Mud is another album crammed with the kind of Country/Southern rock not heard since the likes of Lynyrd Skynyrd, The Allman Brothers,The Marshall Tucker Band, The Doobie Brothers and even The Eagles were in full flight (no pun intended).

As you can see by these comparisons Whiskey Myers lean more towards the the country rock sound than a lot of their peers (The Cadillac Three and Blackberry Smoke excluded) with bubbling organs, parping brass and fiddles adding to their menagerie of sounds on On This River. The album deals with the trappings of the South too paying homage to it's heroes on Hank (a song about Hank Williams) but also how the south is a state of mind, just listen to the fuzzy, guitar laden Frogman which tells the tale of a Navy SEAL longing for his country home, co-written by ex Black Crowe Rich Robinson or Trailer We Call Home which is the sort of blue-collar storytelling that is both believable and for many sympathetic to.

The writing has improved significantly on this fourth record the band have managed to take the intensity of their live sound and translate it to the record, frontman Cody Cannon's lyrics are are in places affecting and others triumphant and the record sounds like it was recorded live in the studio in as few takes as possible, the seven piece band all bringing their distinctive talents to the album.

Take for instance a song like Stone that builds from a piano-led ballad into a Rossington/Collins-like guitar trade off or the heavy title track which just sounds huge with the rhythm section punching hard, these tracks are counterpointed by the smooth Some Of Your Love, the acoustic picking of The Good Ole Days and Lightning, Bugs And Rain which is funky, folky and flirty, however every song just fits and they are deep in the rich vein of the country rock tradition all of the songs clearly display the breadth of sounds within that tradition. Mud is the culmination of a long game for Whiskey Myers and sets them up for bigger things to come. 8/10

Sodom: Decision Day (SPV) [Review By Paul]

There’s not much to really say about Sodom. Since their formation in 1981, the German thrash machine has continued to grind out high quality no-nonsense metal which does exactly what it says on the tin. Decision Day leaves little to the imagination, 50 minutes of pounding heavy metal which switches speed but little else. Strange Lost World is more traditional heavy metal with crushing riffs and Tom Angelripper’s gritty vocal delivery grabbing you by the throat whilst the more aggressive thrash assault of Rolling Thunder and the uncomfortably titled Vaginal Born Evil leave little to the imagination. Originators of the genre, Sodom are often and rightly talked about as part of the big three in Germany, alongside the might of Kreator and Destruction. Whilst the Bay Area took much of the limelight, it’s pleasing to see and hear the real old school still kicking the shit out of everything with full force. Get Decision Day. Bang your head. Classic. 8/10

Throes Of Dawn: Our Voices Shall Remain (Argonauta Records)

Dark progressive metal band formed by Henri (vocals) and Jani (synths) the mixture of guitars and synths are the major part of TOD's interesting and engaging sound. Obviously the band are not the happiest of chaps as their music is mornful, baleful and at times downright depressing (One Of Us Is Missing) but at the same time the album is imbued with captivating beauty that has the classic sound of Pink Floyd with the guitar playing packing an emotive punch that is increased when coupled with the layers of keys to really hit you in the heart and the guts.

From the repetitive riff of Mezmerized you can clearly hear that TOD have a sonic connection to Anathema and Crippled Black Phoenix as they rely on every instrument coming together to create a soundscape rather than focusing on flights of fancy, that's not to say there aren't any solos though, far from it there are incredible solos throughout but they are there to enhance the music. Take a song like The Understanding which is one of the darker heavier songs but it's peppered with melodic solo lines from Juha's spellbinding lead guitar. Atmosphere is paramount to this band Jani's synths and chunky rhythm guitars work well with Henri's keys to create a mood that Harri and Juusos rhythm section expand upon as frontman Henri's vocals are used as another form of moving expression. All are at there most powerful on final song The Black Wreath Of Mind.

Not since Distant Satellites or Hand Cannot Erase have I been so drawn in by an album, there is a lot going on in this record which brings you back to it for repeated listens allowing the record to grow and release more it's delights with every listen. Yes it's a miserable record but it's beautiful in its misery and that makes it a sure fire contender for my album of the year list. 9/10

Devin Townsend Project: Transcendence (InsideOut) [Review By Paul]

If there is anyone in rock who is as prolific and diverse as Steven Wilson it has to be Devin Townsend. With 21 albums stacked up behind him, the seventh album with his band the Devin Townsend Project has arrived with little hullabaloo and after a period of relative quiet from Hevy Devy. Now I don’t claim to be the man’s biggest fan, and I really don’t get all the Ziltoid shit, but his releases with DTP from 2009’s Ki through to 2014’s Sky Blue are pretty consistently fantastic. Transcendence could be the best of the lot. A progressive, rather beautiful album with the most stunningly constructed compositions, there is little that I can criticise. The production is superb, and the band are on top form.

Opening with a re-recording of Truth from his solo work Infinity, the musicianship is quite breath taking, with the keyboard work of Mike St. Jean layering and softening the sounds. Failure and Secret Sciences are immediate stand out tracks with the ever reliable Anneke Van Giersbergen providing the feminine counter balance to Devin’s rougher edged vocals. As with many of DTP’s releases, the sound is massive, swirling and swooping to envelope the listener into another world. Eleven tracks and 64 minutes’ equals pretty decent value too. The nine-minute epic Higher is an ideal fit in the middle of the album whilst the delicate Stars segues perfectly.

With the fusion of heavy guitar work from Devin and Dave Young mixing with St. Jeans’ keys, a hook to die for and the most ethereal harmonies, Stars is one of the most complete compositions I’ve ever heard. The operatic fuelled title track is incredible, with Van Giersbergen’s delicious vocals again enhancing the mix, Ryan Van Poederooyen’s drumming brilliant and the whole band really demonstrating that the more relaxed approach that Devin took during the creation of the album was oh so beneficial.

Live, Hevy Devy and his band are absolutely ball breaking to the extent where sometimes it’s impossible to hear the subtle levels that characterise much of DTP’s work. On record, these levels are more apparent and the emotional From The Heart is a stunning example of the lighter side. It also provides a fine example of the range of styles which DTP and Devin in particular are able to produce, with the high production and uplifting dramatics quietly reducing to a beautifully chilled conclusion which raises the hairs on the neck. It’s a perfect track. A breath taking cover of US alt-rockers Ween’s Transdermal Celebration brings this pretty special release to a spectacular conclusion. As I said at the start, I’m not Devin’s biggest fan but I know good stuff when I hear it and Transcendence is very likely to sit close to the summit of my albums of the year. Absolutely magnificent. 10/10

Dante Fox: Breathless (AOR Heaven)

Dante Fox were part of that small group of AOR groups that made their mark on the early 90's just as grunge was exploding, melodic rock bands such as FM, Ten, Romeo's Daughter, Shy, Heartland added a British grit to the American radio sound wrapping the radio driven songwriting in leather and giving it a cool edge.

Unfortunately as we all know grunge was too all encompassing and many types of rock fell by the wayside, one of those being melodic rock. After the grunge sound gave way to the Millennial bands (Nu-Metal *shudders*) many of the bands that had been active in the early 90's melodic rock scene came back from their self imposed hiatus' and started to write music again. Dante Fox was one such band, having released two albums before 2000 (1996 & 1999) before taking a break, they reconvened in 2007 and since then they have released two album with Breathless being the third since 2007 and their fifth overall, along with doing a hell of a lot of touring including two HRH AOR's.

Dante Fox is the creation of frontwoman Sue Willetts whose voice is the main element to the music, her vocals are fantastic expressive, clear and powerful no wonder she was voted number 19 in the 50 top female vocalists by Classic Rock Magazine. As always guitarist and co-founding member Tim Manford is the foil for Sue's vocals, his fluid guitar lines dancing on top of Andy Perfect's drums and Alan Mill's bass to make the melodic rock sound Dante Fox have always done so well, worth noting too is the keyboard contribution of Eric Rango who bolstered the sound of the record with his ivory tinkling. This fifth album is a strong return from the Melodic rockers who are a testament to the cyclical nature of rock music, criminally overlooked during their formative years but with the huge resurgence of melodic rock/AOR acts it's time to sit up and take notice of Dante Fox. 8/10

Sedate Illusion: Glass Delusion (Self Released)

This Greek act started as a solo project for multi instrumentalist Vangelis Kakarougkas, over the course of four albums he has relinquished most of the instruments to other players meaning that on this fifth full length he is the keeper of the vocals and keys and Tasos Kibizis, Vangelis Glavinas, Andreas Alamanos are the guitar, bass and drums respectively. Unsurprisingly Sedate Illusion's sound is very keyboard heavy almost like Dream Theater if Jordan Rudress took the lead role, on the other hand the rest of the band hold their own with progressive metal riffs, expansive drumming an technical solos but with the modern prog sound of bands like the Von Hertzen Brothers.

The bands' time as an instrumental project shines through as this record is full of sweeping instrumental passages, with Kakarougkas' vocals cutting into the mix on all of the tracks bar Livid Endless Nation which is the only non vocal number. At just over an hour the record offers a great insight into the bands sound with opener Innocence Within starting things off at over 9 minutes of flowing, time changing prog metal, it's the least sedate track on the record and the one that draws the mind to Dream Theater the most. The sound throughout the record is kept as varied as possible with All Will having a pumping electronica at it's core, this song was originally on the bands' 2012 album and this reissued version is by far better than the original.

Where the band experimentation is at it's finest is on the 10 minute plus title truck which starts with traditional Greek Bouzouki's before adding layers and layers that culminate in a middle section that fuses chunky metal riffs with the authentic Greek musical sound making want to bang your head and stomp your feet as the Bouzoki's, distorted guitars, huge keys and even some grunts all fuse together to make the Glass Delusion perfect centerpiece for album of the same name. Sedate Illusion have really gained my attention with this record it's strong progressive metal with an experimental feel that really benefits the record, the problem is that they are featured in the same review as the master but still they hold their own. 8/10

Marillion: F.E.A.R (earMusic)

Eighteen albums into their storied career and British prog giants show no sign of compromise, their sound has adapted throughout the years but it has always retained an element that identifies them above their peers. There have been numerous pieces detailing the history of the band so I'm not going to go into that here but whether you still yearn for Fish to return to the band, you can't discredit Steve Hogarth's contribution to the band, we could argue until the cows come home about who's better but that is just personal preference, the fact that H has been in the band for fourteen albums says all you need to know.

Though they have rarely reached the charts since Fish left the band have gained a more discerning, loyal fanbase because of it, the fair weather fans seen at Fish's recent Misplaced Childhood shows would want nothing to do with the current incarnation of Marillion as they do not pander to anyone with their post-millennial material, it's darker, more emotional and far more politically and culturally aware than not only their early days but also many other bands around today that claim to be political and 'with it', maybe it's their experience or maybe it's that they actually care. They produce and play music on their own terms, spearheading and pioneering the Pledge movement in the process but also crafting music that carries a message but is not preachy in its delivery. (Take note Coldplay and Bono)

F.E.A.R is of course and acronym and in this iteration it means Fuck Everything And Run a title not written in protest or anger but in sadness and resignation of the state of the world, still as uncompromising as ever the band have done what many would consider to be risky, they have produced an album that only has five tracks but is over 70 minutes long, three songs fly past the 10 minute mark but this is a musical journey, not a record built for the iPod generation, it's meant to be taken in in one sitting, but it's best over the course of many sittings it's sprawling soundscapes opening up with each play.

The record opens with El Dorado like the other larger songs on this record it's split into parts, here it is five. It starts as a pastoral lament, then changes tack as the glittering synths of Mark Kelly give way to the main passage of the song (Part II The Gold) which is driven by bass of Pete Trewavas and is kept in pace by the less is more style of drumming synonymous with Ian Mosley. It also lets H work through his range quite impressively from a soft croak to the sweeping higher register he has always, Steve Rothery contributes mainly acoustics to the first part of this track but gets an impressive solo at around six minutes.

It's from here the track gets darker (Part IV FEAR) dealing with it's theme of political entitlement with a sting in its tale creating an ominous attack where H's vocals get more frenzied as it builds and builds on a jangling guitar part that gets heavier and heavier then crashes back down to earth with the dreamy last section. Starting and album with a 16 minute song is brave but the band have got it right as it's followed by the shorter Living In Fear which continues the bittersweet lyrical narrative of the record, it's clarion call of "We're not free, we're just present" resonating as the song wraps up repeating the phrase "What a waste of time" in a gospel style. Living In Fear serves as a direct older sounding Marillion track before it moves into the album's most complex and longest track

The Leavers kicks off with a repeating synth coda which gives way to pulsing electronics, this is where Mosley is at his best, he makes this track, thumping home the song's portrayal of "the impact of a transient life on the road" it's a song for "those constantly waving goodbye" take heed as this song was written long before Brexit and the Remain/Leave campaign addressing the issues of those that have no choice to keep moving to escape hardship, it even serves as metaphor for bands on tour too. At a colossal 19 minutes The Leavers is once again a song in five parts and sees Steve Rothery give one of his most fluid guitar playing the two solos setting the track alight and giving David Gilmour a run for his money.

The sound of this song is something that encapsulates the neo-prog movement Marillion are seen as progenitors of, it has been emulated by acts such as Porcupine Tree, Anathema and Pineapple Thief but Marillion once again show why they are considered by many to be the definitive article. The middle section gets hazy building into the second solo until the pianos are brought back for H to croon over and it tugs at your heartstrings with a crescendo that is anthemic and unifying

After The Leavers you need a lie down, it's an overwhelming piece but there is more to come, the seven minute White Paper breaks up the monster tracks once again with a plaintive piece driven by yet more Grand Piano, you can just imagine the spotlight on H as he sings it live, it's not entirely a solo piece though it's one of the softer tracks on the record an emotional tale of loss and regret that serves as the warm up for the final song on the record.

The New Kings is the final song on the record and it is 16 minutes of progressive, elaborate musicianship dealing with the geo-political climate of corruption, warmongering and most importantly the key element of fear. It's almost a run through of the rest of the album musically drawing sounds from the rest of it as it ebbs and flows culminating in the most defiant statement of the whole record, one that lingers with you even after it ends. F.E.A.R could quite possibly Marillion's best record, from start to finish it is perfection in it's genre without really conforming to one genre. It's a weighty record but it deserves your time and attention from the opening chords it is that good folks don't fear the unknown embrace it. 10/10

Almah: E.V.O (King Records)

Almah are a Brazilian power metal band formed by vocalist/guitarist/keyboardist Edu Falaschi, the band started as a Falaschi's solo project but has steadily evolved into a fully formed band. Their history has been a little potted due to Falaschi's tenure in the other Brazilian power metal heavyweights Angra, however in a marked difference to Angra, Almah have a much more melodic sound sometimes bordering on AOR in contrast to Angra who have always been a lot more progressive, that said stylistically there is a lot of the Angra sound to this record meaning that it is almost a audible twin to Rebirth (Falaschi's debut Angra outing) adding the occasional progressive touch, especially on the title track. E.V.O is the band's fifth album and it once again is filled with soaring melodic power metal, it is a concept album based on the evolution of people’s mind and soul during the forthcoming Age Of Aquarius. Speranza is brings in the AOR with the swathes of synth and emotive lyrics which continues on the big ballad The Brotherhood which takes things to Magnum territory, Falaschi's vocals are reminiscent of Geoff Tate and suit the heavier tracks such as Pleased To Meet You and Final Warning that litter this record. E.V.O is a powerful return from the Brazilian band. 8/10

2 Headed Dogs: 2 Headed Dogs (Self Released)

I've said in previous review about the Greeks love of stoner metal, so I'm not going in to too much detail here but needless to say if it's sludgy, bluesy and cloaked in a thick fug of herbal leaves the Greeks will probably lap it up. So then when I pressed play on 2 Headed Dogs (not to be associated with the Aussie band Two Headed Dog) the big riff of Space Time is your starter for ten with the mind altering spirit of Dave Wyndorf at the forefront. The band clearly recorded this record while flying in the clouds but that's what you want from a stoner rock band, fuzzy riffs and analogue hiss and everything reverbed to hell and back, they break out of their fug for the punky Start Rolling and Josh Homme would be proud of Dreamy Ride and the 7 minute Desert rocker Line Of The Stars. 2 Headed Dogs is a killer stoner rock record for those that like their blunts fat and their sounds amped up, crack a beer and turn it up!! 7/10

Exekuter: The Obscene Ones (EBM Music)

Yet another band from Greece, but unlike their countrymen above Exekuter play harsher more aggressive type of music, as their name probably alludes to they ply their trade in razor sharp thrash riffs delivered with vitriol and snarl, the riffs as pointed as the Jackson Flying V's the band play. As the record starts No Morals explodes out of the speakers it's the furious Slayer style riffs that hook you from the first moment, the scarred vocals bark the lyrics at pace, they even have the stop start soloing of the Bay Area natives. The songs come fast, as the drums blast away like a cannon barrage, the bass playing gives the songs their guts and the guitars shred and shred and shred, they are not all about speed though the songs are paced well turning into a meaty stomp when they slow. This record sounds like Slayer in their Black Magic period, raw, primal and full of hostility, other than than the songwriting this stripped back sound carries through to the production which sounds analogue with a hiss present on every song. The Obscene Ones looks back to the heroes such as Slayer and Exodus but there is enough modernity to give the band their own take. 7/10

Meat Loaf: Braver Than We Are (429 Records)

Those of you that have been following this blog for a while probably read my dismay and sadness about the last Meat Loaf album Hell In A Handbasket, as a lifelong Meat fan it seemed to me to be a bit depressing and lackluster. I bemoaned that it might be the final record and suggested that the only true way to finish the career on a high would be to reunite with Jim Steinman. Well obviously he listened to me as shortly after the album's release he announced just that a new album with every song written by Steinman. There were a few setbacks along the way as both men succumbed to the perils of age but have come out fighting after it and nearly 40 years after Bat Out Of Hell stormed into the public consciousness the two men were back once again.

Yes there has been disagreements and fights and legal issues but never have two artists been made for each other Steinman writes huge songs that need a certain type of singer and Meat Loaf is that kind of singer. The album kicks off with Who Needs The Young a Vaudeville styled first song where the character that this album revolves rallies against the faults of youth. It's the movie Cabaret with more New Orleans jazz and a tongue in cheek delivery as Meat grumbles in his lower tone backed by the swaying horns. It's a slightly odd opening track I will admit but works as a welcome back to the rock n roll theatre of Jim Steinman's writing.

The first full force Steinman track is Going All The Way Is Just The Start (A Song In 6 Movements) which is an over top uber-piece that features the trademark piano runs heard on I Would Do Anything For Love, starting slow it's evident that Meat doesn't possess the range or power he once had but much of his appeal to me is the way he delivers the lyrics and that remains it's overwrought and emotional so happily when bolstered by the female vocalists it sounds like the Bat years.

The Neverland Express led by guitarist Paul Crook power through an 11 minute plus epic as the second song. The vocal partners here will be familiar to Meat Loaf lovers and I will admit I did get a little too excited when I heard the song featured Meat's old school vocal partners Karla DeVito and Ellen Foley. Ellen sang Paradise By The Dashboard Light the spiritual predecessor to this song, on the record and Karla part of the original touring band doing the part live. It's familiar and impressive Meat and Jim at their finest.

Two songs into the album and already I've forgotten all about Hell In A Handbasket, both the men who are so suited to each other's sound back together in harmony, Speaking Tongues is slower soulful ballad featuring Stacy Michelle and just needs an acoustic guitar, a piano and a choir to make it's mark. Loving You's A Dirty Job continues the tradition of duets as a couple (Meat and Stacy Michelle) reminisce on their relationship and come to the conclusion given by the tracks title, oddly with modern backing (synths and programming) Meat's fractured age-hued vocals are in juxtaposition well.

The Neverland Express are all on top form the working Steinman's songs into the arrangements you hear here, musically spreading their wings a little with the sax-filled blues of Souvenirs which has nods to the past with the line "You've been cold to me so long, I'm crying icicles instead of tears" and actually has a lot in common musically with The Boss. Shaking things up again with buzzing loops and synths on the heavy More which takes it's cues from Bat III, Godz is one of the few weak parts but it segues into Skull Of Your Country which is chest beating rock ballad and is a re-write of Steinman's own song Total Eclipse Of The Heart complete with the "Turn around bright eyes" refrain albeit with more guitar solos.

Paul Crook's production is a lacks a little of the bombast but still it's the sheer musical force of the record that's at it's core as the album ends with the 80's tastic Train Of Love (slide guitar solo by Rickey Medlocke). It's a stupendous return to form for Meat, his best most concise record for a long time with only really one lull the rest of it displays the synchronicity between writer and performer. If this is the last dance then it's a filthy, flirty, fist throwing, defiant blast of opulence that Jim and Meat built their legacies with. 8/10

(If you can seek out the Tesco/Target deluxe edition which features a cover of Buffalo Springfield's For What It's Worth with Stephen Stills, the excellent Prize Fight Lover and an orchestral version of IWDAFL with Imelda May)

Barenaked Ladies Tramshed, Cardiff

Sometimes it’s good to have a change from the metal. Back in 1999 I was blown away by the sheer humour and talent of Canadian outfit Barenaked Ladies when they supported The Beautiful South at the Cardiff International Arena. In fact, they were the highlight of the evening by a country mile. Their acclaimed album Stunt exposed the band on an international basis and they became a staple in the car stereo, one of those albums that offended no-one despite the clever and meaningful lyrics. However, due to a number of reasons, and the fact that the band never came to Cardiff again my enjoyment in the live arena was left at that fleeting encounter in a former life.

18 years on and the band finally make a welcome return to Cardiff’s newest music venue, The Tramshed. Now I’ve been full of praise for this place and in particular for the security who are most excellent but heat wise, it was disgusting. Sure, it was one of the most humid days on record but if you can keep the toilets at a very cool temperature you really need to do something about the main hall. It was dripping and there wasn’t a lot of crowd movement. Moist was most definitely the word.

Opening up for the BNL was regular touring partner and stand up comedian Boothby Graffoe (8) whose surreal sense of humour fits with the BNL like a zany jigsaw. No wonder he has been a staple of the band’s touring itinerary for so many years. Joined by Jim Creegan and Kevin Hearn for a couple of numbers, Graffoe did a magnificent job of loosening the crowd up for the main event with much chortling around the venue.

A relatively quick turnover allowed time to grab a quick Butcombe Gold (always a pleasure to find a venue that sells more than Carling!) and just after 9:00pm the Barenaked Ladies (10) entered the stage in their usual unassuming style. What followed was just superb. At just under two hours the value for money was top notch. Musically, BNL range from alt rock to rap to reggae through to lounge room all served up with a huge side of ironic observations and humour. The band, led by the charismatic Ed Robertson on vocals and guitar, are exceptional musicians. Hearne for example, has no difficulty switching from guitar to keyboards whilst delivering a Gene Wilder tribute. Bassist Jim Creeggan’s enigmatic style is contagious as he switched from double bass to bass guitar whilst adding some fine harmonies. And all of this anchored by the powerhouse on the drums, the fantastic Tyler Stewart who contributes immensely, from timekeeping to backing vocals to wisecrack quips throughout the evening.

As sets go, this one had it all. Tracks from many of their eclectic releases mixed with their unique “Cardiff Rap” which name checked the Welsh Capital and delighted the audience, by now close to drowning in their own sweat and perspiration and the very special Prince tribute complete with anecdote that linked-in Sir Tom Jones and Glastonbury. To top it all, the band made several mistakes which were laughed off as “Cardiff starts” and which enhanced and magnified the sheer humility of such a great band. Highlights had to include the three old school songs from Gordon, Brian Wilson, Hello City and the ever brilliant If I Had A $1,000,000, The Old Apartment and of course the duo from Stunt, Light Up My Room and One Week which had everyone singing along. My particular favourites also included the lovely duo from Maroon, Falling For The First Time and Pinch Me.

What also makes BNL so much fun is their observations on life and Ed Robertson’s hilarious narratives about the number of coffee shops in Cardiff and the biggest dog turd he had ever seen on the top of Taff Embankment couldn’t fail to make you laugh. The band have the confident swagger of true musicians at the top of their game, without any of the arrogance you might expect. As the heat increased still further, Ed Robertson dryly remarked that the Welsh for Tramshed was “hot black box” which was pretty accurate. As the clock clawed its way to 11:00pm, the band finished with their traditional medley led by Tyler Stewart on the vocals, allowing Ed Robertson to finish the evening behind the kit. A medley which included Bieber, Celine Dion, The Ramones and finally Led Zeppelin brought the house down. For four such unassuming guys BNL are just totally absorbing whilst on stage. A fantastic evening all round. I’m still drying out mind.

Voodoo Vegas: Freak Show Candy Floss (PHD)

Freak Show Candy Floss is second full length album from Bournemouth rockers Voodoo Vegas, their debut The Rise Of Jimmy Silver was released to a lot of critical acclaim in 2013, it was followed by the EP Hypnotise last year which showed the band were still firing on all cylinders. Freak Show Candy Floss is the first album to feature new drummer Jonno Smyth and new guitarist Jonathan Dawson who add their own touches to the established triumvirate of guitarist Meryl Hamilton, bassist Ash Moulton and vocalist Lawrence Case. Voodoo Vegas expertly blend the classic sounds of the Sunset Strip taking the sounds of Aerosmith, Guns N Roses with the modern rock revival and this second album is the continuing story of their protagonist Jimmy Silver now in charge of freak show circus so the songs all fit within the theme.

Opening track Backstabber is a big power chord driven rocker that welcomes you with a massive chorus and solo, while Long Time Gone has blues shuffle driving it. Things slow for Resolution which sounds a lot like The Answer as it has heavy bass line and an acoustic opening that blows into the spiralling riff. The dual guitars are the ideal compliment to the ballsy rhythm section as Case sneers with his Axl-esque vocals. The band are more accomplished on this record than they have been before they also have wider range of sounds with some blues harp parping on Poison and new heaviness on Killing Joke which has slabs of riffs lined up with lyrics that reference the Clown Prince Of Crime. Freak Show Candy Floss is an impressive second shot from these classic styled rockers, with a relentless gigging schedule Voodoo Vegas have honed their sound to produce another strong record of classy hard rock. 8/10

The Apocalypse Blues Revue: The Apocalypse Blues Revue (Mascot Records)

Drummer Shannon Larkin and Guitarist Tony Rombola have made their names in American alt metal troupe Godsmack. During some of the studio time for Godsmack Larkin started to lay down grooves on his kit in improvising session with the guitarist and he saw the other side of Rombola as he ripped blues solos that evoked the spirit of Hendrix, Page and SRV. From here they set about creating a new project which has turned into TABR, along the way they have acquired Brian Carpenter on bass and on vocals they have found Ray 'Rafer John' Cerbone who is the dead ringer for Jim Morrison. In fact the whole album oozes the blues based cool of The Doors with a punky attitude, this record is a much darker prospect than many of the current blues crop there is a bit of soul and funk in the album.

It's an atmospheric, simmering, fuzzed up release that sees Larkin and Carpenter locked in with dirty rhythm as Rombola slices through with wailing, soulful virtuosic guitar playing. I've mentioned that the band sound a lot like The Doors, they even go as far as cover When The Music's Over as the final song on the album, as far as the rest of the album goes we get heavy wah-wah infected rock on The Devil Plays A Strat (with a nod to Charlie Daniels), the Southern stomp of Evil Is As Evil Does, pure Johnson-style blues on the tragic Junkie Hell. The aim of this band is just to plug in and play and it works, stripped back electric blues that takes blues music back to it's early days played by a group of musicians who though not associated with the genre seem to have an affinity to it, a damn good start for TABR. 8/10

Impavidus: Impavidus (Self Released)

Manchester's Impavidus have risen from the ashes of My Wooden Pillow, a band who impressed me with their death/groove metal sound. Well MWP's frontwoman Michelle, bassist Patrick and drummer Chris met up with guitarist Gav with the sole intention of creating more very heavy metal. This four track EP immediately reminded me of the unrelenting death metal of Arch Enemy and Carcass with metallic scything riffs from Gav riffing away wildly as Patrick and Chris hammering away in the back room with ferocious blast beats and powerful groove laden bass work.

With the discordant battery going on from the music standpoint they merge it with the varied vocals of Michelle who can soar melodically but more impressively roar better than many of her counterparts, as she bellows over the heaviness. The four tracks on this record are all strong from the hard and heavy Heaven's Gate and the thrashier Excapulate, through the bass heavy Black Mirror and the final technically impressive Scourge, they encapsulate many of the sounds of death/groove metal and deliver them with a percussive force. Keep an eye out for Impavidus as on the basis of their EP they are ready to make a statement in a venue near you soon. 7/10

Damian Wilson: Built For Fighting (Self Released)

Built For Fighting is the Threshold/Headspace singers newest solo record, his first in over 10 years, many that know him from his day jobs will be pleasantly surprised by this solo outing it has a serious singer/songwriter sound with modern twist. It nods to acts such as Del Amitri with Wilson's amazing vocals being the centre point. Most of the songs take an acoustic turn, the lyrics are personal, introspective, defiant, political and in many places emotive with the songs very strong throughout see the beautiful closer Battlelines which like most of the album deals with the idea that "Life is a fight. A never ending brawl and struggle to find a little peace"

The record starts with it's first single the poppy Thrill Me which is not a love song but a lust song built around a huge chorus hook, it's an opener this record needs, following it is When I Was Young which is a retrospective, folky tune with bubbling synths and jangling guitars. The records first part is a more laid back affair. Impossible and Fire are two ballads where Wilson gives an emotive vocal backed by beautiful strings and piano a theme continued on Fire with yet another piano led piece that builds into a stirring orchestral section.

The songs on this record are unlike his work with Headspace and Threshold as I've said they are more straightforward, radio friendly and I hate to say it poppier but it works so well to hear Damian sing these songs, sometimes you'd think it could be a new James Blunt song (I Won't Blame Life) but this is no bad thing there is something familiar and endearing about this record. Headspace cohorts Lee Pomeroy (bass) and Adam Wakeman (keys) contribute along with Bill Shanley (guitar) and Brian Willoughby (drums) all of whom add their incredible skill to the record.

There is one cover on the album which is a stripped back version of Depeche Mode's Somebody and leads into the second part of the record which gets a rockier feel, the dirty Sex & Vanilla utilises Wilson's vocal range accompanied by big organ stabs and a harder edge as Can't Heal War has some classic rock posturing from it's driving rhythm while a bluesier What Have You Done has a more soulful sound and an air of Vintage Trouble about it with hand claps, parping brass and backing choirs

This album is simply incredible I genuinely enjoyed every single song, especially Written In Anger which has the records most Del Amitri sounding song, as the storytelling bittersweet lyrics straight out of the Justin Currie songbook. This record has excellent, intelligent sometimes thought provoking lyrics, outstanding musicianship, vocals and arrangements bolstered by Jens Borgen's perfect production. Buy this album it might just be my wild card album of the year. 10/10

Sinnergod: Sinnergod (Self Relased)

Gothic rockers Sinnergod hail from the scary realms of Wigan, this is their second full length album and continues their trademark mix of atmospheric layered guitars and synths working in tandem. Think NIN, Gothic-Era Paradise Lost, and even Depeche Mode and you'd be close. Burn has an industrial stomp to it with the five piece producing dark edged music throughout, this Stands out as one of their heaviest moments. The pounding rhythm of James Dunn (bass), Chris Hampson (drums) and Mark Hampson (rhythm guitar) is one of the bands key elements it gives them the force of Rammstein on the heavier tracks but also adds a thump to the more ethereal compositions.

On songs like The Endless however the lead guitars of Sam Saint add a rapid melodic line and lead break to the powerful beat, while later on on tracks such as 1000 Sins he does his best guitar hero. The drama of these songs is conveyed by Mark's excellent vocals part Manson/part Gahan which suits the dark electronic Goth rock of Sinnergod's sound.

The thumping electronic parts are created by the synths, samples and keys of Paul Swindells who on tracks such as I Never Had A Gun is the main ingredient although it does feature a cracking guitar solo too. The band spread their wings a little and add more melodic and alt rock touches than before they even put an 80s style ballad in the mix that sounds like Sixx:AM but it just works breaking from the heavier edges, that return on the classic metal styling of We Don't Have Anything.

The album is dark melancholic piece but with enough hooks to crawl under your skin and beckon you into the world of Sinnergod. There's a distinct 90's sound to the record Gahan and Gore's influence looming large on Supernatural. Having seen this band live I was suitably impressed to be excited about this album and my excitement has paid off, Sinnergod is a great modern Goth rock record that pays dividends to it's influences and wears it's black heart on its sleeve. 8/10

Helstar: Vampiro (Ellefson Music Productions) [Reviews By Paul]

Way back in the halcyon days of the 1980s thrash and power metal bands were emerging in the States like a disturbed nest of ants. There were literally thousands of them. The history of the Bay area scene is well documented but what isn’t always as well known is the story of those who nearly made it. One such outfit is Helstar, who at one point were label mates of Megadeth and Exodus. The band released a couple of albums including fan favourite Nosferatu before combusting. A reunion in 2001 led to the return of founding guitarist Larry Barragan in 2006 and since then the band has produced a number of releases. Sadly, long serving bassist Jerry Abarca had to leave the band due to ill health in 2014

Vampiro is unsurprising. A combination of hard thrash and power metal set firmly in the 1980s. Think Exodus, Metal Church and the speed of Primal Fear. But although it’s unsurprising it’s bloody good stuff. James Rivera’s vocals have echoes of the late David Wayne, with his chilling screams particularly impressive. The double pronged guitar attack allows for killer riffs and some blistering solos, Barragan and Rob Trevin shredding like maniacs. Meanwhile the powerful drumming of Mikey Lewis and the rampaging bass lines of Garrick Smith allow the band to crash along like a runaway race horse.

Thematically Helstar stick close to the traditional metal areas; Blood Lust, Off With His Head and Repent In Fire are pretty blunt. From The Pulpit To The Pit raised hopes of a random Ghost cover but alas it is another heads down thrasher and one of the weaker tunes on the release. However, Vampiro is probably as good a work as the band has ever delivered and the playing is impressive. To Their Death Beds They Fell is a monster whilst instrumental Malediction cannot fail to get your head banging along, if you can keep up with the pace of this bad boy that is.

In fact, the goodies keep on coming with Repent In Fire maintaining the assault before the two heavyweight pieces on the album arrive. Abolish The Sun is a broody crushing six-minute beast with huge riffs whilst Black Cathedral is the longest track on the album which rages for over seven-minutes. A thrashy beast, Vampiro once again demonstrates that life in the old dogs exists and in many cases still teaches new tricks. 7/10

Crystal Ball : Deja Voodoo (Nuclear Blast)

This is the ninth album from this swiss quintet and it's a brilliant slice of melodic hard rock, with doses of power metal thrown in. With great head banging riffs right from the outset, it's obvious the band know exactly what they're doing. Steven Mageney has a great voice, one with a slightly sinister roughness to it, but it only adds to the band's overall sound.

The album has it all, ballads (Home Again& To Be With You Once More), full on power metal (Full Disclosure& Dr Hell No) and the aforementioned hard rock (Reaching Out& Without A Net). The background organs in certain songs, the sound of Mageney's voice and the lyrics mix to create a dark, haunted-house sort of atmosphere, an excellent album, definitely one to consider putting on during a Halloween party. Keep up the great work guys! 9/10

RSJ - Giant Glenn (Copro Records)

The title track of this fourth outing from the York group holds nothing back; a slow, chugging freight train of noise, caving your eardrums in ready for the onslaught of Fuck Off Joe. What follows is a great chunk of metalcore goodness, the band effortlessly changing from heavy-as-f*ck riffing to more subtle atmospheric sounding stuff, often within the same song. There are a few points for breathing room before the band tear into another storm of noise.

One example is Dear John, which samples Joan Jett's Rock And Roll Hall Of Fame induction speech, in which she talks about music and its effect on politics and the world. Dan Cook's vicious growls, backed up by Matthew Gamblin and 'Guff' Thomas, they are the core of the band's brutal sound with Gamblin's sludgy bass work supported by Greg parsons on drums to create a brutal base for the excellent guitar work of Thomas and Dan Kentley. Overall, it's a brilliant album, and an excellent example of what great metal is. 9/10

We Are The Catalyst - Elevation (Ferocity Records)

This is the second album from this Swedish quartet, and it's a good one. During opening song Delusion, you can tell that lead singer Cat Fey has a great voice, although it seems at points she's pushing it too much, and takes some getting used to. However, throughout the rest of the album, she seems to settle back into a more comfortable vocal range. Fey is supported by Kenny Boufadene who, when clean singing, is a great backup to Fey's dramatic voice.

However, Boufadene's growls leave a lot to be desired, often jarring enough to take you away from the songs. His guitar playing is brilliant however, and he's supported by Håkan Strind on drums, and Joni Kaartinen on bass. The band's overall sound ranges from heavy and hard hitting like in A Million Claws to melodic and soft in songs such as Life Equals Pain. Great album, slightly let down by dodgy vocals in places. 7/10

Serious Black: Mirror World (AFM Records)

Power metal supergroup Serious Black return with their second album Mirrorworld. Since the release of debut album As Daylight Breaks there has been a bit of a line up shuffle. Roland Grapow and Thomen Stauch have both jumped ship to concentrate of their full time projects to be replaced with guitarist Bob Katsionis of Firewind and drummer Alex Holzwarth of Rhapsody Of Fire.

Serious Black play a more melodic brand of power metal with the usual traits of the genre - twin guitar harmonies, a plentiful amount of nifty guitar solos, speedy drumming with tons of double kick, the powerful soaring vocals of singer Urban Breed and of course a fantastic production job. The album is awash with plenty of fist pumping metal anthems with a couple of songs such as Heartbroken Soul and the title track straying into melodic hard rock territory at times.

The danger with supergroups is with the calibre of musicians on show expectations can sometimes be too high and some people may find themselves disappointed with the very straightforward nature of this album. There's nothing new or groundbreaking to hear on Mirrorworlds just plenty of powerful and fun metal anthems which bands like Serious Black do so well. 7/10

Pain: Coming Home (Nuclear Blast)

Peter Tägtgren brings back his industrial metal side project Pain for album number eight after a five year absence since You Only Live Twice in 2011. He's kept his reputation as one of the busiest and most prolific forces in metal during that time with his production work, the collaboration with Rammstein's Till Lindemann on last year's Lindemann album Skills In Pills plus his output and touring with his most well known music endeavour the mighty Hypocrisy.

Peter manages to bridge a vast number of musical styles and ideas on Coming Home with a big emphasis on a huge symphonic sound (with assistance from Ardek of French symphonic black metallers Carach Angren). This combined with the usual chugging guitars, thunderous drumming (courtesy of Peter's son Sebastian Tägtgren) and dense electronics gives tunes such as A Wannabee and Starseed a very grandiose feel. The sound generally varies throughout the album from the country rock influenced swagger of Designed To Piss You Off, groove heavy chug of Final Crusade, the reflective almost ballad-esque title track and a heavy inclusion of acoustic guitars.

Despite some experimentation in sound this still sounds very much like a Pain album with plenty of insanely catchy and anthemic tunes which will worm their way into your subconscious whether you like it or not. Overall this is a fantastic album and can definitely be seen as one of the highlights in the Pain discography. 8/10

Mantar: Ode To The Flame (Nuclear Blast)

Mantar are a two-piece sludge outfit from Hamburg, Germany. Ode To The Flame is their second full-length album and their debut for Nuclear Blast records. Considering they are only a two-piece (made up of vocalist/guitarist Hanno Klänhardt and vocalist/drummer Erinc Sakarya) Mantar make an impressive amount of noise playing a straightforward no-frills brand of sludge with crushing monolithic riffs, throat shredding vocals and solid but precise drumming.

Song-wise the album ranges from the doom-laden opener Carnal Rising, to more up-tempo rockers such as the single Cross The Cross, to venom-spitting slabs of nastiness such as Schwanenstein. This gives the album a nice amount of variation with no song really outstaying its welcome.
The only thing really holding this album back is the lack of truly memorable songs though I imagine in a live environment some of these songs will absolutely slay. Ode To The Flame overall is a competent slab of crushing sludge metal h although mostly unmemorable will appeal to fans of the genre. 7/10

Dark Forest: Beyond The Veil (Cruz Del Sur)

The last thing good that came out of Dudley was a holiday romance I had in about 1988. Ah, I hear you cry, what about Dark Forest? Of course, one of the UK’s premier power metal outfits, singing about history and mythology since 2002. Beyond The Veil is album number four and it stands alongside the best that Germanic outfits like Helloween and Freedom Call can currently offer. And In these uncertain times of European exit, surely Britain needs to support its own power metal kings.

Opening with all the speed and passion of our European cousins the band crash through Autumn’s Crown before hitting the title track early, riffs and harmonies at the ready. Skip through the album at your leisure, it's pretty good stuff if you like rampaging power metal. Blackthorn, not an ode to that most horrid of ciders gallops at 100mph with soaring guitars and the excellent vocals of Josh Winnard right on the button. Of course, power metal has its roots in the Priest and Maidens of our world, so it's no surprise that Earthbound contains all the stomp of a Maiden classic, with the duel guitar attack of founder member Christian Horton and Patrick Jenkins reminiscent of Walls Of Jericho era Helloween.

With their history themes prevalent, the medieval interlude of Ellylldan sits nicely although the acoustic Lunantishee doesn't feel quite as comfortable with a horrible Celine Dion moment. If Winterfylleth didn't beat your arse quite so heavily, then Men An Tol might well nestle within their ranks. It's a real foot tapping instrumental soaked in the forests and countryside. Surging bass lines courtesy of Paul Thompson combine with the hammering drums of Adam Sidaway whist the interplay between Horton and Jenkins is definitely a throwback to the duels of Adrian Smith and Dave Murray at their height. I love the medieval feel to the track, conjuring images of iron horses, archers and trebuchets, moats, fires and portcullises. In fact the whole album creaks of the giant oaks on England’s green and pleasant land.

On The Edge Of Twilight has more than a passing nod to the epic Blind Guardian and as any fool knows, that can only be brilliant. It is one of the best tracks on a thoroughly enjoyable album, which provokes magical imagery throughout. The Lore Of The Land switches back from electric to the acoustic, Winnard taking on the role of the Bard with his story telling. It's cheesy stuff … but cheese is good, right? (Agreed - Dairy Ed) 7/10

Asguard: Hidden God (Self Released)

I have to admit I know little about Asguard who bring Melodic Death Metal from Belarus. In fact, I don't know anything about them! According to my research the band were active from 1998 to 2009 when they split so it's a mystery how some seven years later Hidden God has found its way to Musipedia Towers. The band apparently had quite a reputation in their homeland with numerous supports to heavyweights such as Sanatorium, Behemoth, Vader and Mayhem. Hidden God is their fourth album and it's, well, it's chaotic. Opener Conscript is a fusion of about seven different styles, whilst Daemon Cavaclade has elements of Rammstein, Depeche Mode and Soil in the mix with a hook suitable for a Eurovision entry. In fact, it fits neatly into the industrial zone with growling guitars underpinning a quite infectious keyboard riff. Meanwhile the vocals of Alexander Afonchenko, whilst an acquired taste fit the sound perfectly,

More electronics for the title track with a cyber based opening before the band crash into a BFMV vocal. The keyboards on this track really underpin it, with guitars of Oleg Maslakov and Andrey Tselobenok relatively understated. However, things really hot up with The Outpost, a crazy mash up of Rammstein, In Flames and Scar Symmetry. It's both great and terrible at the same time with huge power chords crashing down, a simple keyboard hook and angst ridden screaming vocals that switch between calm and angry at every turn. Album closer Where Everything Was Different is almost pop in parts, a funk bass line setting up the beginning of the end, more powerful riffs and weird vocals. Overall, Hidden God is one well weird album, a smorgasbord of styles and influences. Worth a listen even if just for the bat shit craziness that flows through it from start to finish. 6/10

Hannes Grossmann: The Crypts Of Sleep (Self Released)

German drummer and multi instrumentalist Hannes Grossmann has been influential in the technical progressive metal scene through his work with Alkoid and extreme metallers Obscura who he left in 2014. The Crypts Of Sleep is his second solo release, self written, arranged, produced and recorded at his own Mordor Studios. Containing a number of his old band mates from Obscura, Alkaloid, along with lead vocals from Moreau of Dark Fortress and additional guitar work from Per Nilsson of Scar Symmetry and ex-Morbid Angel’s Erik Rutan, this release is as technical and complex as you'd expect. Numerous intricate tine changes, masses of guitar solos, blast beats and crushing riffs as well as some of the filthiest bass runs known to man dominate with Hail Satan possibly the pick.

Unfortunately, much of the album appears to follow a similar pathway and after a while it becomes a little repetitive. Technically brilliant,there are some highlights. Ocean Born Master at least bucks the trend for a minute with an acoustic intro before the polyrhythmic patterns return, Moreau’s guttural roar impressive and a slightly more melodic change of pace which is soon shattered. Album closer Anima Inferna opens with a lone solo, builds with heavy riffs and then erupts into a blast beat fest. Ultimately The Crypts Of Sleep suffers from a lack of variety and the absence of any real soul. It really does have the feel of a solo project and whilst you have to admire the work that has gone into this release, it's hard to really warm to it. 6/10

Iron Fire: Among The Dead (Crime Records)

The kings of Danish power metal once again bring a speed metal assault to the masses, Among The Dead is their 8th record and their first as a three-piece with vocalist Martin Steene taking up bass, he's joined by Gunnar Olsen on drums and Kirk Backarach on guitar. As soon as the intro fades we a thrown into the title track which is more downtuned than before. On this opening rager the band show they have become a much leaner, angrier band they were before, Steene still has a low rougher vocal than many of his speed metal peers, he even does some growling on the title track, but it's only on this record that his vocals has really fit the music.

Among The Dead sees the band channel the thrashier elements of their sound moving away from the power metal sound they had early in their career. It benefits tracks such as Tornado Of Sickness, Higher Ground, this newest album still focuses on the theme of war and battle putting the band lyrically in the same boat as Sabaton but as I've said a heavier sound. Iron Eagle is a fist raising shout along, The Last Survivor has backing shouts on the modern thrash sounding song. Iron Fire have been doing this stuff for a long time now and there is little chance of any change, yes their sound is probably a little more aggressive than before (except on When The Lights Go Out) and the cover of Whom The Bell Tolls adds nothing really, but really the record is just another Iron Fire album. 6/10

Noveria: Forsaken (Scarlet Records)

Noveria are an Italian progressive metal band that take their cues from the progressive power metal scene with the keys and guitars the major elements in the music much like Symphony X and Pagan's Mind. Forsaken is their second record and the band say the record "is a concept based on the theory of the five stages of death by Elisabeth Kübler-Ross" It was "written in memory of a brilliant young woman who was taken away from her family by an aggressive cancer with each track describing the different states of mind of a person facing a fatal illness".

It's a heavy concept then and delivered in the style you would would only expect from a band that plays this type of music. With thumping rhythms given by DGM's Andrea Arcangeli on bass and Omar Campitelli on drums, the heavy riffage of Francesco Mattei, electronic/symphonic passages with Julien Spreutels and sky scraping wide ranging vocals from the incredible Francesco Corigliano all the members of the group are all excellent musicians and play with a fluidity and style of many of their peers and influences. The record also features some guest vocals from Kelly Sundown Carpenter (formerly of Firewind), Claudio Pietronik (Ancient Bards) both of whom give their own contributions to this record. Noveria will have very big career ahead of them if they carry on like this, their second album is a so strong it will be near the top of a lot of people's progressive power metal albums list. 8/10

Tardive Dyskinesia: Harmonic Confusion (Playfalse Records)

Tardive Dyskinesia are a progressive/experimental band from Athens, Greece and they sit uncomfortably in many genres with the album drawing a lot more on it's experimental rather than progressive nature, there are lot of time signature pass-the-parcel throughout the records as songs get faster and slower sometimes in the same section. In fact the album's title is very apt in describing the musical endeavour, there seems to be a confusion in what style they want to be but they do what they do very well indeed. If Mastodon took more risks they would sound like Tardive Dyskinesia, (the name comes from a neurological disorder characterised by involuntary movements of the jaw and face) with the cacophony of noise topped with Manthos Stergiou's vocals that sound like Troy Sanders at his noisiest and Brent Hinds in his more melodic moments.

From the off this album throws riffs upon riff on you each song featuring extremity and experiments in equal measure, there's death and tech metal styling but also prog rock, hard rock and even jazz type rhythms present. Opening an album with an instrumental is always a risk but when it's the palm muted riffs of Insertion it sets you up for the fiendishly heavy Fire Red Glass Heart which is the first song to have the quiet loud dynamics with the Mastodon style heaviness going into the more stoner passage in the middle while The Electric Sun is one of the fastest tracks on the record with intricate guitar playing and a barrage of heaviness. Tardive Dyskinesia are a band with a sound that draws from the more extreme sounds with technical ferocity and experimental spirit, great stuff! 8/10

Kai Hansen: XXX - Three Decades Of Metal (earMusic)

XXX - Three Decades In Metal is a celebration of Helloween, Gamma Ray, Iron Saviour and Unisonic founders thirty years in heavy metal and hard rock music. This is Hansen letting loose and displaying why he is so revered in metal circles and of course why his career has spanned 30 years. He has brought together many of his friends and former band mates to add their talents to this record. As a guitarist he is extremely talented and vocally he has developed his own style over the years, but he has worked with some of the best so the majority of the guests on this record are vocalists, starting out with two of the finest in Piet Sielck (Iron Saviour) and Ralf Scheepers (Primal Fear/Gamma Ray) on Enemies Of Fun, we get Twisted Sister's Dee Snider on Contract Song.

Making Headlines has Edguy/Avantasia's Tobias Sammet, who also belts out the lyrics on Stranger In Time which sounds like a Avantasia song as it features former Helloween/current Unisonic man Michael Kiske and current Gamma Ray vocalist Frank Beck. Getting away from chest beating masculinity, Visions Of Atlantis/former Serenity vocalist Clementine Delauney adds her classical styling on Fire And Ice contrasting Hansen's nasal gruffer vocal and Richard Sjunnesson's (ex Sonic Syndicate) harsh screams.

With so many guest vocalists on the record including Heaven Shall Burn's Marcus Bischoff and Blind Guardian's Hansi Kursch, it would seem to be guest overload, however they all contribute with out detracting. He also has some six string assistance from Helloween's co-founder Michael Wekiath on the heavy Fire And Ice and also from Masterplan/Ex-Helloween man Roland Grapow on the Maiden-like Stranger In Time.

With so much talent does the record stack up? Well yes it does, Hansen plays with the type of music he was influenced by and the clearly defined styles he helped popularise and innovate. Born Free is an autobiographical thrasher with a fist pumping chorus that sums up most of Hansen's life and career Enemies Of Fun is a bouncy headbanger from the Helloween glory days, Making Headlines is a classic power metal anthem that is pure Gamma Ray. Left Behind is a slower more symphonic sound that leads into All Or Nothing which is rock ballad that would sit well in his Unisonic work

This album is a celebration of one mans life's work and demonstrates how important Hansen is to metal's legacy much like the NWOBHM and the US thrash scene. Kai Hansen was at the forefront of Teutonic speed metal and this record is him cementing that legacy. 9/10

Ghost: Popestar (Loma Vista)

Before the next full sermon the Swedish occult rockers return with their second covers EP, this time they yet again cover non rock artists but unlike If You Have Ghosts they add a song of their own to this EP. It opens with Square Hammer, which is the only original song on the record and it stands up to the rest of the Ghost repertoire fueled by pounding drums and bass from the Nameless Ghouls, some twisting organs, drawing from the more recent style they prefer mixing 70's prog rock with the more radio friendly sound. Still Square Hammer is a rocker with dual guitars duelling with the organs and getting heavier in the solo section, it's a good way to open the album and gives the rabid Ghost fans some new material to chew over.

The rest of the EP are covers as I've said they take an odd turn as they are all covers of electronic/new wave/synth pop and post punk acts, firstly they tackle Echo & The Bunnymen's Nocturnal Me moving away from the folky sounding original and making the song their own with a more dramatic, doom style driven by a big drumbeat. I Believe is a cover of Simian Mobile Disco and once again Ghost change it replacing the tribal electronic beats with a sparse arrangement, synth pips and even something that sounds like a harpsichord meaning Ghost's version of I Believe is more akin to Chamber Music than electronica.

On the final two tracks the band take the sound further once again picking tracks that fit the band's innuendo filled ethos and inverted religious imagery. Missionary Man was originally by The Eurythmics and while it still has the simmering sexual aggression of Annie Lennox and Dave Stewart but with a Ennio Morricone flavour featuring harmonica from Brian Reed and hollering female vocals of Fia Kempe. Finally the EP is rounded out by a cover of another Swedish act Imperiet, they were a post punk outfit but this song is a piano led, almost whispered ballad dripping with emotion and Ghost keep it similar to the original and sees Papa give his best vocal of the record especially when it turns into its euphoric chorus, mark my words this song will take centre stage in their live show.

Another set of interesting covers from Ghost allowing them to display their varied sound and also give fans a brand new song to bolster the collection. An excellent stopgap release that will allow them to get to the live arena again with some more tunes. 8/10

Lordi: Monstereophonic (Theaterror vs. Demonarchy) [AFM Records]

Just when you thought Finnish monster metal couldn't get any sillier they return with their maddest album yet. The record and indeed the new costumes that accompany it are half & half, the first 6 songs are normal hard hitting Lordi glam/hard rock filled with schlock rock lyrics and horror imagery, songs like Hug You Hardcore (which has a very NSFW video), Down With The Devil, Sick Flick and Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe) all have the stomping hard rock sound of classic Lordi as Mana and Ox thump in the rhythm section and Mr Lordi uses his rough vocals to tell the morbid tales.

As I've said this is a record of two parts and for those that may have felt Lordi are a little lightweight and perhaps too stuck in the Twisted Sister/Kiss style of music then Monstereophonic may change that idea as the second part of the record is a more progressive, heavier, metallized concept piece that features changing time signatures faster almost sometimes thrashier songwriting that all showcase the impressive guitar playing of Amen who due to the longer running times can show off his soloing prowess as Mr Lordi sings with as much variation as he can muster.

Most of the songs on the second half are over 5 minutes long and really show a different side to the rock monsters especially the final act The Night The Monsters Died which takes just Hella's plaintive keys and matches them with an emotional vocal from Mr Lordi, it's strangely remorseful end to the album but one that suits the concept that has been acted out in the second half. Eight albums in and Lordi show everyone that they are more than Eurovision and that they can adapt their sound to a much more mature sound than many of their fans are used to. 8/10

The Quireboys: Twisted Love (Off Yer Rocka) [Review By Paul]

Longevity appears to be a particular trait of rock bands. The Quireboys are no exception. Formed in 1984 and a permanent fixture since their reformation in 2001, the band have been particularly productive in the last few years with relentless gigging and an almost production line approach to album releases. Twisted Love is their tenth studio release, and it's a pretty decent affair. Bolstered by the blues tinged backing vocal of Lynne Jackaman and a stabilised line up, this is the kind of stuff you want playing in the bar or on a hot summer night. Spike’s vocals remain as raspy as a forty a day Rothmans smoker but with as much soul and feeling as he had back in 1990 on A Bit Of What You Fancy.

Sure, it's still the combination of The Faces, The Stones and The Black Crowes but The Quireboys follow the blueprint with a panache that is often absent in rock these days. The Union’s Dave McCluskey lays a solid foundation to work with bassist Nick Malling although the undoubted star of this album is Keith Weir’s stunning keyboard work which stands out on tracks like Ghost Train, Gracie B (Part II) and Midnight Collective. Underpinning it all is Spike’s vocal and the dependable guitar work of Paul Guerin, whose interplay with Weir on Shotgun Way, Life’s A Bitch and the foot stomping Torn And Frayed is excellent. Throw in Jackaman’s backing vocals and this is a real good time album. Grab a whiskey, throw on those shades and enjoy. 8/10

Svvamp: Self Titled (Riding Easy Records) [Review By Paul]

Retro sounding blues rock is all the rage these days and the debut album from Swedes Svvamp gets a huge “come on in”. With the emphasis firmly focused on the sounds of Cream, Creedence Clearwater Revival, early Lizzy and more than a smattering of Zeppelin, this is a thoughtful, beautifully composed album which opens with the meandering Big Rest, Adam Johansson’s soul filled vocals immediately demanding your attention. It's an interesting way to start an album, without the usual power and pace of a traditional opener but still captivating. The Roy Harper-like Set My Foot and Leave follows, Johansson’s calm tones mixing sweetly with the acoustic work of Henrick Bjorklund and Erik Stahlgren.

The 70s feel continues with Free At Last, before we finally get a muddy riff or two on Oh Girl. Things really hot up with the southern stomp of Blue In The Face, surely the bastard offspring of a long forgotten one night stand between Graveyard and The Sword. Bjorklund’s guitar howls like a beaten child whilst Johansson’s crashing drumming and change of style match perfectly. Down By The River conjures up the blues tinged rock of Neil Young and Crazy Horse whilst my favourite Serpent In The Sky contains a hypnotic riff, gutsy guitar work and a variation on the vocal again, with some Jay Buchannan style work. Indeed, Rival Sons are one of the bands that come to mind when listening to this album and that is not a bad thing at all. A band to watch out for. 7/10

Die No More: Destruction Complete (Self Released)

Carlisle is probably not where you'd think classic sounding, thrash edged metal would come from but Die No More are out to change that. Destruction Complete is their second EP and comes 2 years after their full length debut Elected Evil. In this time DNM have clearly honed their skills in the live arena as this EP is a lot smoother the riffs slicing like scissors through silk, the drumming relentless but not all consuming, there are far more NWOBHM sounds to this EP than there are outright thrash madness, opener Save Yourself and the excellent The Enemy Within has all the thrash you need with distorted riffage and stone cold grooves to get the head banging, the disharmony of the instrumental sections are offset by Marc's clean Hetfield-like vocals, which also add to the classic metal sounds forgoing the normal barking thrash vocal.

The growing maturity of the band is at it's best on Mirage which has a progressively tinged opening due Kev's lead guitar, but as soon as you've settled in to it the rhythm section of Marc, Martyn (bass) and Steve (drums) kick you in the spleen and all hell breaks loose with solos galore. The four songs on this EP are all very strong but the best is saved for last, the title track clocks in at just under 8 minutes and is a Herculean example of the bands musical talent, progressive, technical and in parts downright mesmerising, it ticks all the classic metal final song boxes. Forgoing a bit of the thrash metal sound has paid off for Die No More they have made themselves sound more seasoned. One criticism is that it's whet my appetite now so I hope it won't be too long before the second album comes out, as it has the potential to be very, very impressive 7/10

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