Musipedia Of Metal

Black Star Riders – Tramshed, Cardiff

Cardiff’s Tramshed always offers a warm welcome, in more ways than you may expect. A capacity crowd full of mainly mature classic rock fans crammed into a venue where the air conditioning is used incredibly sparingly meant that you began to fear for some of the more cardiac challenged punters. At the start of the BSR set sense finally prevailed and some limited breeze provided a little bit of relief. For such a great venue with fabulous staff and security this is the one thing that lets it down.

Opening outfit for the night were The Amorettes (7) have been on the scene since 2009. Hailing from West Lothian, the hard rock and rolling three piece who have toured extensively over the past few years, kicked off proceedings with no shortage of confidence, vocalist and guitarist Gill Montgomery showing her skills as the band crashed into a short set which showcased tracks from their three albums. The raucous Let The Neighbours Call The Cops received a healthy reception and to be fair, as the girls set increased in tempo, so did the applause. With Heather McKay rampaging all over the stage with her bass slung low and sister Hannah bashing seven shades of shite out of her large drum kit, The Amorettes no doubt gained some new admirers during the evening. They don’t do anything new, as noted in closing track Hot and Heavy but they wear their Motorhead/Girlschool/AC/DC/Lizzy influences proudly on their sleeves and were an enjoyable watch.

The crowd swelled for the arrival of the second Scottish act of the evening. Gun (8) are old hands these days and are amongst the hardest working bands around. They appear to be a house band for the organisers of the Hard Rock Hell events and have the swagger to go with their thumping AOR tunes. Dante Gizzi is the epitome of cool, refusing to remove the leather jacket despite the sweltering heat in the venue whilst brother Jools was poured into a pair of red trousers which left little to the imagination! Their 40-minute set went down a storm with the inevitable shape throwing induced by Word Up! causing much hilarity on the balcony (Guilty M'Lud - Ed) With their back catalogue of soft rockers it was only a question of what the band would throw out but they did chuck in a newbie alongside Let It Shine, Hold Your Head Up and of course, the Beastie’s Fight For Your Right which closed their set in style. With a couple of the current line up significantly younger than the original members Gun have got the fresh impetus to continue to build on. Always good fun.

Wailing air raid sirens heralded the arrival of headliners Black Star Riders (7). With their new album recently released to pretty much unanimous acclaim, it was unsurprising that a good half of the set comprised tracks from Heavy Fire. The confidence of a band full of seasoned professionals was there for all to see from the off. Scott Gorham and Damon Johnson are exceptional guitarists and throughout the evening traded licks for fun. Jimmy DeGrasso and Robbie Crane held the rhythm with ease which allowed frontman Ricky Warwick to flex his muscles and throw every rock star shape in the manual. And yet, there was something about the overall delivery that just lacked emotion or connectivity. The previous evening I’d seen The Answer, a band whose heart and soul pull you in to every second of their show. Not so with BSR. If I was uber critical I would say that they were somewhat going through the motions. Sure, they were polished and faultless in their playing and Warwick’s voice is as good in the live setting as it is on record but there was something missing. It felt like watching rather than being part of the gig.

Of course, the sight of Gorham knocking out the riffs for The Boys Are Back In Town is worth the ticket price alone and the band hit the heavy button several times during the evening, most noticeably with Who Rides The Tiger and Bound For Glory (Lizziest track the band have - Ed). Don’t get me wrong, this wasn’t a bad gig, oh no. It just didn’t hit the connection which often happens and felt a bit too clinical, despite the heat in the venue. I’m sure BSR are decent guys and Scott Gorham is one of my heroes. However, Warwick’s cocksure arrogance doesn’t float my boat and at times became a source of minor irritation. Give me The Answer any day.

Crystal Fairy: S/T (Ipecac)

Crystal Fairy is an interesting prospect with two members of The Melvins, Buzz Osborne (guitar) and Dale Crover (drums) you can always say that about any project that stems from The Melvins. Crystal Fairy is a genre bending record that also features musical polymath Omar Rodriguez-Lopez (at The Drive-In, The Mars Volta) on bass and Le Butcherettes frontwoman Teri Gender Bender.

With a motley crew of characters involved Crystal Fairy brings the influence of all involved there are fuzzy riffs from Buzz that move between punk, grunge and metal with ease, intricate bass lines from Rodriguez-Lopez that ramp up the psych, technically proficient and groove laden drumming from Crover but the major reason for this band's musical dexterity are the fantastic vocals from Gender Bender who whispers, shouts, seduces, chastises, croons and hollers sometimes in the same song her acerbic delivery at work on the stomping Necklace Of Divorce, she seems to be adapting her vocals to fit the song, which is mightily impressive for an artist known for her Riot Grrl aesthetics, hell even on the Spanish language Vampire X-Mas she astounds.

Opening with the riffing Chiseler they start with a punky kick in the head, that morphs into the doom riffage of Drugs On The Bus anchored by the low-end crunch of Omar, there is a definite jam sound to this record it's four paid up members of the touring scene together in a room indulging in sounds that they may not be associated with, you can practically feel the smiles emanating off the band as they rock out hard on Vampire X-Mas and Secret Agent Rat.

Crystal Fairy is an album that sees musicians you may associate with one style of music coming out of their comfort zone to cherry pick the best parts of metal, punk, sludge rock, psychedelia, and even pop to make and album that reveals more layers with every play. 8/10

Mothership: High Strangeness (Heavy Psych Sounds)

Well, well, well after being inundated with numerous Scandinavian psych, stoner, doom acts all of high quality sometimes it's nice to go back to the genre's roots with an American band that deftly re-create the sounds of 70's hard rock taking cues from British rockers such as UFO along with "The Little Old Band From Texas" ZZ Top and even the mighty Grand Funk Railroad, this album is proper power-trio stuff, brothers Kyle and Kelley Juett are the riff machines, Kyle on four strings, Kelley on six, they are responsible for the scorching heavy rocking that fills this album, packed by the powerhouse percussion of Judge Smith.

The title track that starts this record is a hazy instrumental that has touches of Hawkwind and brings you into the swirling space rocking that is about to be unleashed on the chugging Ride The Sun that builds like a Wolfmother song before exploding into all kinds of fret wankery. These two tracks alone are supreme examples of Mothership's brand of supersonic heavy rock n roll and they kick things off well for what is the Dallas band's third record, from here on out it maintains the same high level dipping in and out of the sounds of an era. Midnight Express is a doomy NWOBHM influenced rocker sound is similar to fellow Texans The Sword while Helter Skelter ramps up the groove.

The production means the songs gleam and you can hear every ounce of talent being displayed. High Strangeness flies by but as the final chords of the swampy seven minute Speed Dealer you want to do it all again. Playing at a venue near you in June, pick up this record blast it loud then go and check them out I know I will be. 8/10

Cryptic Realms: Enraptured By Horror (Transcending Obscurity) [Review By Paul]

Death metal brought to you by the combined nationalities of Mexico, Greece, Brazil and United States. It is brutal stuff, with Kostas Analytis (I had that once, cleared up with a cream from the GP) laying down a vocal circa Morbid Angel and Venom 1984. In fact, the sound of this band is so deeply entrenched in the mid 1980s you could be forgiven for thinking it’s buried treasure. Unfortunately, the album is killed by a dire production which leaves you straining to hear the drumming of Uriel Aguillon.

It sounds like he’s playing on biscuit tins at times. It’s a similar issue for the guitar work of Tersis Zonato who is lost in the muddy mix. Thematically the band follow a traditional death metal path. Doomed Cathedrals, In Mortal Distress and Begging To Be Dead leave little to the imagination. The similarity is such that half way into the release I was hunting to check if I had it on repeat, such was the repetitive nature. Full credit to the band for giving it their all in their first full release. Next time polish up the sound so that it does you justice. 5/10

Sinister: Syncretism (Massacre Records)

Dutch death metal veterans Sinister strike hard with their twelfth album Syncretism showing that old school death metal is still very much alive and well in 2017. Sinister are true veterans of the death metal scene with the band forming in 1988 and their early albums are seen as some of the most defining albums of the genre. With Syncretism the band maintain their legacy and release what is sure to be one of the finest death metal releases of 2017. Syncretism combines all the classic traits of death metal - razor sharp riffs, deep murky bass, chaotic drumming with plenty of blast beats and double kick plus the ultra guttural vocals of frontman Aad Kloosterwaard. Also in place are some very nice symphonic passages which add a nice atmosphere of dread to the music whilst at the same time doesn't detract from the brutality of the music. This is especially effective in opening song Neurophobic where the symphonics slowly and gradually build up before the guitars kick in with a riff so savage that you may be decapitated if standing too close to your speakers. Syncretism isn't a groundbreaking album but it is testament to a band like Sinister that even with their twelfth album they still have the ability to release death metal of this quality and intensity. 8/10

Striker: S/T (Record Breaking Records)

Canadian metallers Striker return with their self-titled fifth album and if you are a fan of old school heavy metal from the 1980's then you seriously need to hear this album. Striker is chock full of fist pumping heavy metal anthems with uplifting choruses, earworm hooks and flashy lead guitar solos aplenty. There is also a bit of a Sunset Strip glam metal influence running throughout which helps the album sound almost authentically 80's. Tim Brown impresses with his flashy guitar playing as does vocalist Dan Clearly with his impressive melodic yet restrained vocals. There are no OTT banshee wails to be heard here. This is the first time I have heard Striker and I am breathtakingly impressed. This album manages to both sound like a wonderful throwback to the 1980's yet sound inventive and modern at the same time. This is definitely an album to be played on a Friday or Saturday night with the volume cranked up and a beer in hand. Absolutely stunning anthemic party metal which demands you pump your fist and bang your head. 9/10

Unearthly Trance: Stalking The Ghost (Relapse)

Stalking The Ghost is album number six for Unearthly Trance and the first since their reformation in 2015. With a seven year gap between albums Stalking The Ghost was a highly anticipated release by doom/sludge/stoner fans and on the whole it delivers. Unearthly Trance pretty much pick up from where they left off and have released an album of dense and bludgeoning doom/sludge metal. The riffs on this album are straight up nasty complimented by a heavyweight rhythm section and the truly vicious vocals of Ryan Lipynsky. There are also influences from old school black metal and post-metal especially in the dark atmosphere throughout some of the songs. This dark oppressive atmosphere combined with the savagery of the riffs makes these songs sound like they are about to burst with violence. The downside to this album is that all the finest tracks are on the first half of the album with the second half of the album gradually losing steam (and my interest) as it went on. That being said this is still a damn good album and recommended to those who like the nasty side of doom and sludge metal. 7/10

Kreator, O2 Forum, Kentish Town, London

Having only walked in for the end of their set, I don't feel it's fair to score Sepultura but I will say that having heard closing songs Ratamahatta and fan favourite Roots Bloody Roots, it's easy to see the Brazilian lads haven't lost it.

Then it was time for the reason me and my good friend Nick trekked all the way to England's capital; The mighty Kreator (10). As soon as the band entered the stage to Choir Of The Damned, the crowd were chomping at the bit for some brutal thrash metal and received it they did with Mille and company tearing straight into Hordes Of Chaos, following up with classic song Phobia. The setlist, although heavily stacked with songs from the brilliant Gods Of Violence, had a great mix of older and newer songs, with the band playing through them relentlessly. Mille Petrozza's voice was filled with just as much malice and anger live as on track, and he held the crowd captivated from start to finish. His guitar work was excellent, backed up by Sami Yli-Sirniö, Ventor's drumming is still rattling around my head as I type this and Christian Giesler's bass brought the heaviness tenfold.

Despite missing out fan (and personal) favourite Voices Of The Dead from the setlist, there was still an excellent choice of songs spanning the band's career, including the rarely played Civilization Collapse and set closer Pleasure To Kill from their second album. Fan favourite Flag Of Hate was received very well, with the band flawlessly seguing into Under The Guillotine. One standout moment of the night was during Fallen Brother where the images of deceased musicians flashed up on the screens around the band, including not only metal heroes such as Lemmy and Dio, but also David Bowie, Prince and 2-Pac, reflecting the band's belief that music should bring people together no matter what the genre. As we left the venue, I had no doubt there were going to be plenty of sore heads and equally sore necks in the morning, my own included.

Editors Note- After this gig Kreator were announced for a Saturday special guest slot at Bloodstock so we expect to be in serious pain on Sunday.

Ancestral: Master Of Fate (Iron Shield Records)

This release is just fabulous if you like a bit of European power metal. Hailing from Castelvetrano in Sicily, Master Of Fate is the band’s second long player following on from The Ancient Curse, released ten years ago. You’ve got to admire any band that can come back from such a gap. This is technically excellent power metal, with the duel guitars of Carmelo Scozzari and Alessandro Olivo particularly impressive.

As you’d expect it is 100mph from start to finish. Opener Back To Life is a magical Helloween infused trip, steaming and smokingly fast drumming supported by superb guitar work and some quality vocals from Jo Lombardo. Things get even better with the thrash stomp of Wind Of Egadi which is a real head banger. So what makes Ancestral different from a billion other power metal bands?

Put simply, this is exactly what is required of the genre but with a magnificently heavy curve which too often is absent. On The Route Of Death is a prime example of the ball crushing heaviness that underpins a blistering power metal assault. 50 minutes, ten tracks, totally impressive. Miss out at your peril. 9/10

Deivos: Endemic Divine (Selfmadegod Records)

Polish death metal is always pretty brutal and the fifth release from Deivos is no exception. If you like your metal hard, heavy and with sufficient aggression to split wood then these boys will float your boat. There is no subtlety here, just full out powerful death metal at its finest. The delightfully named Angelfuck (really?) takes care of the growling vocals whilst Tomas Kolcon and new man Jakun Tokaj slash and rip with some of the heaviest and dirtiest guitar this side of Behemoth.

With tracks such as Gods Of Death, Dust Of The Universe and the gut splitting opener Daimonion, Deivos leave nothing to chance sticking loyally to the death metal blue print. It’s solid and full force from start to finish. If you like some death metal, get your listening chops around Endemic Divine. You won’t be disappointed. 7/10

Dusius: Memory Of A Man (Extreme Metal Music)

Folk and Viking metal. Another genre with about a million bands, of differing styles and qualities. We know the leaders: Korpiklaani, Enisferum, Eluveitie, Turisas and Finntroll to name but five. (Tyr can fuck off for ever) Well, Parma, Italy has spawned Dusius, the best thing since sliced ham (sorry!). Memory Of A Man is their debut release, coming seven years after they first started making their own brand of Folk metal. It has all the ingredients necessary.

Accelerated drumming, shredding guitars, death growls and anthemic chanting and changes of pace which add to the atmosphere and of course, bagpipes, flutes and, yes, the hurdy gurdy. Check out One More Pain, a seven minute epic which ticks every box. The seven members of Dusius give it their all on every track but this one is special. Grab your drinking horns, form a circle and lose your shit. Fantastic stuff. 7/10

Unruly Child: Can't Go Home (Frontiers)

Can't Go Home is American AOR band Unruly Child's seventh album and sees the core membership of trailblazing vocalist Marcie Free, guitarist Bruce Gowdy, keyboardist Guy Allison reuniting with original band members drummer Jay Schellen and bassist Larry Antonino who took part on the debut record, it's their first record since 2014 and sees the band doing what they do best with highly polished AOR driven by the shimmering guitar lines and the ramped up keyboards of Allison which are so 80's it hurts.

With mid-paced rockers such as Get On Top which is powered by some cracking use of organs, The Only One is a fist pumping emotive rocker, Four Eleven is tough Whitesnake-like ballad which builds on a massive hook that really displays Marcie's soulful vocals, as with all AOR bands it's the ballads that set them apart and Unruly Child are no exception, See If She Floats is an intelligent slice of FM bothering layered with acoustics but it leads into the albums mega ballad She Can't Go Home which moves into Def Leppard territory as it slowly burns into a storming finale.

Can't Go Home is an album that takes as much as it can from the band's past but puts it on a bullet train to the 21st Century sitting somewhere between history and modernity and all the better for it. 7/10

Lionville: A World Of Fools (Frontiers)

Lionville have managed to make it to a third album, formed in Italy by Stefano Lionetti along with Lars Säfsund (Work Of Art/Enbound) and Alessandro Del Vecchio (pretty much every band). Since then Del Vecchio has left and it's the core duo of Lionetti and Säfsund forging ahead with the project on this third record that comes five years after the previous album. Lionville are a European band with a very American radios sound they play the sort of breezy Westcoast AOR of Toto, Survivor and Richard Marx with floaty keys and melodic guitars the order of the day, it's music to be played at the beach with a leggy blonde sitting in the passenger seat of your sports car (clearly a Lamborghini in this case).

There is a huge dollop of FM radio friendliness on this record huge hooks are merged with searing guitar solos, stand out songs on the record are the groovy Bring Me Back Our Love, the piano driven One More Night (not a Phil Collins cover) and the tougher rocking single I Will Wait. Säfsund displays the vocal prowess that always impresses, the rest of the band all play with drive but this is Lioneeti's baby from the songwriting to the production his mark is all over the record and all the better for it. Smooth grooves and sunny anthems mean A World Of Fools is a AOR delight. 7/10

Tokyo Motor Fist: S/T (Frontiers)

With Danger Danger vocalist Ted Poley and Trixer guitarist Steve Brown you'd think this record would have more rock songs on it and when they really rock out on the Van Hagar sounding Pickin' Up The Pieces, the dirty Love Me Insane and the speedy Fallin' Apart the record is at it's best however from about song four on there seems to be one two many ballads. Now whether that is due to the nature of the band or the sequencing of the record it just seems like all of the ballads are squashed towards the back end of the album. That's not to say the songs aren't good they are slick and played with confidence, but it would just be better for me personally if there was a bit more pace on this album, Poley has a voice made for ballads crooning well throughout, I just felt my attention wandering as the record went on. For fans they will lap this up for anyone else try it and see. 6/10

Emmure: Look At Yourself (Sharptone Records)

Keeping on par with traditions of previous albums where the introduction track lasts roughly around 1 minute 40 seconds, You Asked For It eases the way into a solid riff for about 35 seconds before the ass kicking starts. One thing I’ve always liked about Emmure’s material is most of it is made to get pits started, the crowd jumping and this starts off exactly where the previous line up ended with 2014s Eternal Enemies. Shinjuku Masterlord doesn’t give you a chance to breath with the fantastic growl of Frankie Palmeri starting the song off with “I’m Back”.

The essence of Emmure seems to come back with this track combining Deathcore and elements of Rap within the vocals, it’s clear to see that the musical influence stayed with Frankie. Smokey introduces the turntables into the album, similar to how it was incorporated into E from their previous release. Natural Born Killers continues to bring the riffs and keeps up the high tempo of the record so far. Flag Of The Beast, the third single release, dials back the hard hitting music and focuses primarily on the vocals with a nice audio sample at the start and if a song starts with “You know what you are? You’re the antichrist” then you know it’s going to be good!

Taking the aggression down a bit, Ice Man Confessions brings in some beats and audio samples with the chorus utilising the aggression, with the verses being the complete opposite which compliments the song very well. Second single release with Russian Hotel Aftermath is just simply a song about self-loathing and it was only fitting for the lyrics to be backed by brutal riffs throughout and it just seems as if the album doesn’t know when to tone it down and that’s only a good thing! The theme certainly continues with Call Me Ninab, Major Key Alert and Turtle In A Hare before toning it down slightly with Torch, the first single release.

Torch seemed to take the album in a different direction as the musical focal point was simply to slow it down and let the vocals do the work and although the single was released in October, it still packs a punch. A Djent-y break now with Derelict which lasts only 70 seconds before the album finishes with Gucci Prison which ends the album the way it started, hard and fast. Solid album with the new line-up 9/10.

Suicide Silence: S/T (Nuclear Blast)

A lot of controversy surrounded this album with Eddie Hermada confirming that the album would be at least 70% clean vocals. With bands such as Whitechapel testing the water with clean vocals, Deathcore seems to be trying to change direction but with it, there’s been a lot of fan backlash. Starting off with the song that seems to have triggered the debate on clean vocals, Doris kicks off with a riff that screams Suicide Silence and the verse vocals match but the chorus changes and that’s where I think the band starts to lose its identity a bit and tries to become Deftones. It’s tough to be objective with this album, as a band I’ve followed since 2009's No Time To Bleed, seeing a dramatic change in the band’s direction is a bitter pill to swallow but for what it is, I’m keen to see how they can incorporate the clean vocals.

Well, I was keen until I heard Silence. This song single-handedly kills everything that the band had been working towards and what they stood for musically, this isn’t the Suicide Silence that fans know and seems to be an album more toward Korn/Deftones fans. Listen claws it back slightly, utilising a slow bass line and screeching vocals before coming clean again. So far this has been a frustrating listen but for what it is, it’s not bad, it just needs a different band name on the cover. Dying In A Red Room and Hold Me Up, Hold Me Down are two completely contrasting songs with Dying In A Red Room being 100% clean but Hold Me Up, Hold Me Down brings that essence of Suicide Silence back slightly but when this is track 6 out of 9, the damage seems to have been done. A dramatic U-turn musically and a risk which didn’t seem to pay off. The rest is more of the same and overall is only worthy of a lesser score and I think that’s a bit generous. 5/10

Aversions Crown: Xenocide (Nuclear Blast)

Moving onto Aversions Crown’s third album, Xenocide, we start off with Void, a kind of battle music-esque intro, full of atmospheric tones and although the song is relatively brief, the tone starts to change towards the end before Prismatic Abyss kicks in. Deathcore gallore with intricate drumming, blast beats but with a focus on the lead guitar whilst the rhythm is generally hidden behind everything else. Mark Poida, who replaced Colin Jeffs to front the band leaves his vocal mark on the album sounding scarily like Phil Bozeman from the This Is Exile record. The general pace of the album remains the same throughout, often fast paced with slight breakdowns to bridge elements of the songs together and this is finely reflected on The Souless Acolyte. The nature of the album continues with Hybridization but sweep picking is now added into the mix. So far it’s a solid album but I’m still waiting for something to stand out. With bands such as Chelsea Grin, Whitechapel and Thy Art Is Murder, they bring their own element into the Deathcore genre, Aversions Crown seem bring their own stamp onto the genre with harmonising lead guitars breaking out from the rhythm riff which to be fair, not many bands can do this well without detracting away from the heaviness. Ophiophagy takes the pace down slightly but the drum triggers and blast beats do a great job of quickening the pace when needed with the vocals picking up the pace alongside. The album more or less continues in this fashion and is a solid outing from the Brisbane lads. A band who are getting a good reputation behind them solely on the material they’ve put out and rightly so! Keep it up lads! 8/10

Bloodbound: War Of The Dragons (AFM Records)

How I've not heard more of Swedish outfit Bloodbound before now is a shock to my system. Dragons, battles, kings, this album has it all. The intro, A New Era Begins, is a spoken track about, well a new era beginning , foretelling a war of dragons. The use of a Jurassic Park T-Rex roar tops it all off before the real fun begins with Battle In The Sky, a rapid salvo of drumming and riffs, topped with delicious synth. Speaking of which, the use of synths throughout the album is a great touch, but it sometimes feels as if they're drowning out the rest of the music. The entire album is pretty much standard power-metal fare, choirs and deep, foreboding voices punctuate tales of battles with dragons. There are a few slower songs, such as Fallen Heroes, which honestly would not sound out of place on a Sabaton setlist. Pata Johansson's vocals fit perfectly with the bombastic sound of Fredrik Bergh's synths, with Bergh providing backup vocals. The Olsson brothers work brilliantly together on guitars, with Tomas taking the lead with some great solos. This is power metal with genuine passion, and definitely worth a look. 8/10

Bonafide: Flames (Off Yer Rocker Records)

Claiming to be 'Sweden's finest in Low Down, Dirty & Mean Rock´n´Roll' is a pretty confident thing to say, but listening to their 5th album, Flames, you can't help but think Bonafide may have a point. Right from the outset, the band's sound is energetic and you can hear the influence of early American blues ringing throughout the album. Opening song Back In The Flames immediately slaps you in the seat of a motorbike doing 100mph down the freeway, and there isn't a rest stop in sight. Stand-out songs include Like It Now, an uplifting toe-tapping tune. The slower Under Your Spell, which closes the album, is a great ballad in the vein of Lynyrd Skynyrd. The amazingly named Pontus Snibb's vocals are perfect for the sound the band put out, like a young Rod Stewart singing proper Rock n' Roll, and the rest of the band work excellently with each other. Great Rock n' Roll you can sit back and listen to or just go crazy with. 8/10

Screamer: Hell Machine (High Roller Records)

Yet another great band from Sweden, Screamer are on their third full length album and it's a cracking one. First off, let's get this out the way, it's hard to listen to heavy metal bands with Screamer's sound without the inevitable comparison to bands like Iron Maiden and the influence is definitely noticeable throughout, but by the gods do Screamer do it well. Andreas Wikström's voice is great, never going beyond it's limits, but the stand-out sound of the album is the dual guitars of Anton Fingal and Dejan Rosic, pumping out those delightful Maiden-esque harmonies and riffs left right and centre. Although very similar to many of the heavy metal acts out there, Screamer are definitely in the top half of them, an extremely enjoyable listen from start to finish. 8/10

Blaze Bayley, Fuel Rock Club, Cardiff

The former Iron Maiden current Wolfsbane singer made his third trip to Cardiff in three years, this time on the back of his latest album Endure And Survive which is the second in Bayley's sci-fi trilogy dealing with space travel, murder and all kinds of other shenanigans. Having seen Blaze in the same venue around the same time last year, I was anticipating a similar show with a different setlist and that's exactly what I got taking a few more songs from the most recent record Endure And Survive the set opened up with two newbies the title track Endure And Survive and Escape Velocity which opened the set strongly, I was impressed that the hardcore at the front of the stage were shouting along with every word even though the album is barely a week old.

After the two new songs it was straight back to the Maiden days with the chugging Futureal which whipped the crowd into a frenzy as Chris Appleton handled Janick and Dave Murray's guitar parts easily, with Karl Schramm doing his best Steve Harris (while trying to avoid smacking his head on the alcove at the side of the stage). Back to the new album for the aggressive Blood and then probably one of Bayley's best solo songs the fist pumping, crowd singalong Kill & Destroy which was the first song that really displayed Bayley's antagonistic stage banter where he claimed the crowd was better last year and that he wanted every other crowd to be in awe of Cardiff, he threatened cajoled and gave a heartfelt speech about supporting live independent music, so when it came to the "Kill" refrain in the song the audience were all in one voice.

Bayley is a master manipulator and neatly segued from Kill & Destroy into I Am Alive which was followed by road anthem Watching The Night Skies with I Live For 1000 Years, Eating Lies, I Am Human all in rapid succession Martin McNee's drumming driving along everything at a ferocious pace. A huge cheer was elicited for Silicon Messiah from the album of the same name with Calling Them Home and Stare At The Sun both displaying Bayley's Midas Touch for epics. However his own epic was over-shadowed by the one song from his back catalogue I've never seen him play live, Chris Appleton played the harmonic chords that open The Clansman there was an almighty cheer and we set off. With the rallying cry of "Freedom" every word was shouted back, fists were in the air and it was a glorious celebration of what is in my opinion one of Iron Maiden's best songs.

Chris once again played all the guitar solo parts with ease commanding the stage like the frontman he is (Blaze's backing band are also the three members of Absolva). With little time to rest between the songs we were promised danger next and that's what we got, no not Bayley's Wolfsbane band mate but a song from his first band, it had to be of course the intense Manhunt which created chaos as the Howling Mad Shitheads near the front reverted back to their teenage years and started to bounce with reckless abandon, with some extended solo sections from McNee, Appleton and Schramm before Blaze burst back onto the stage for the climatic Man On The Edge. The hot and sweaty venue was cheering wildly as the set finished and the band left the stage, before being drawn back for one more *free* song Ten Seconds from Blood And Belief .

It was a glorious celebration of Blaze's career with tracks drawn from every period, the sound was pretty much spot on not suffering from the feedback that occasionally affects the venue. I urge you to see Blaze when he returns to these shores later this year, he's a one man heavy metal machine with a backing band that are extremely talented, he is clearly enjoying every minute and that joy rubs off on everyone witnessing the show. 9/10

Danko Jones: Wild Cat (AFM)

Danko Jones is a man that bleeds rock n roll, it's his reason for getting up in the morning over the course of his career and 8 albums he may not have gained arena level status but he has what a lot of top level musicians lack, honesty, making music is more than just his bread and butter it's his life force and you can hear that coming out in every song he writes. Wild Cat is his eighth album and once again along with his partner in crime bassist John Calabrese and drummer Rich Knox it's 11 slabs of fast and furious, attitude filled proper rock n roll.

If you've never heard Danko Jones or can't picture proper rock n roll then imagine AC/DC and The Ramones jamming Chuck Berry songs on a speeding train. From track 1 to track 11 it's non stop riffs and naughtiness, the lyrics rarely change, rebellion, loving and rocking are the main factors but that's no matter Danko as usual has a party going on and everyone's invited. Take a track like My Little RNR it's filthy, flirty but also romantic in a horny teenage way coupled with the garage rock riffs it's a prime indicator of what Wild Cat is about.

Occasionally though he does shift the musical influences Let's Start Dancing teams funk with rockabilly fury and You Are My Woman stands out as a favourite on the record due to it's smooth Thin Lizzy-like vibe, yes it still rocks, hard, but Jones channels Mr Lynnott with some spoken word vocals in the middle of the track. Wild Cat doesn't do anything drastic but it does once again show that this trio bring the party and hard. 8/10

The Charm The Fury: The Sick, Dumb & Happy (Arising Empire)

There has been a lot of talk surrounding The Charm The Fury, a lot of press has been garnered and this sophomore album has been advertised for a while now. I actually had never heard of the band until I saw the press for this record, after a bit of searching I found that the band are based in Amsterdam and have released an EP and a full length before this album, they are characterised as a metalcore band and after the first listen to this record I can clearly hear the influence of Killswitch Engage et al as the songs are full of chugging groove filled riffs, there are nods to Lamb Of God on opener Down On The Ropes which sees frontwoman Caroline growling as well as Mr Blythe commanding the microphone with her aggressive snarl.

However later in the album on Blood And Salt she displays her cleaner delivery. As this record progressed I felt like The Sick, Dumb & Happy was similar in sound to much of the In This Moment early albums, it's aggressive and powerful but features a melodic touch on tracks such as Silent War that shows a lot of maturity. Metalcore is not usually my bag and at points during this record I did find myself getting a little distracted, but if you like razor-sharp modern metal with ferocious riffs and savage vocals you'll love this pit-inciting record. 7/10

Lux Perpetua: The Curse Of The Iron King (Underground Symphony)

Lux Perpetua used to be called Sentinel and after numerous line up changes finally they have settled on the name Lux Perpetua (Perpetual Light - Latin Ed), a steady line up and they have finally recorded their debut album. If you couldn't tell from the band name, album title or cover image Lux Perpetua are a power metal band, they hail from Poland and they share a name with the third book in a historical fantasy trilogy by Polish author Andrzej Sapkowski (as well as a mass). They also share a narrative influence with the book, this album deals with historical fantasy with tales of and Iron King, an old Bard and a Werewolf, coupled with the intensely symphonic, heavy metal The Curse Of The Iron King could easily played in the same marathon gaming session as Blind Guardian or Rhapsody (Of Fire or otherwise).

The record opens with the triumphant instrumental Celebration before the title track starts the album properly with Paweł "Kaplic" Zasadzki drumming like crazy, he rarely drops from 100mph turning the normal power metal gallop into a sprint, Krzysztof "Kormak" Rutkowski ably aides him with the bass riffs. Tomasz "Tommy" Sałaciński and Mateusz Uściłowski are the axemen of the band and they ramp up the metal with dual leads see Army Of Salvation giving the traditional power metal sound. While other tracks such as The Legend super fast rhythm licks and supersonic solos. They also take on a Blind Guardian-like folk ballad on Eversong which sits neatly in the middle of the Claymore wielding battle themes.

Artur Rosinski delivers each line with a gruff power he really hits his stride on the progressive An Old Bard however the band really stand out due to the incredible keys of Magdalena "Meg" Tararuj who adds the symphonic elements to the tracks such as a church organ to The Werewolf, cinematics to Desert Of Destiny, a Templar clarion call to the title track. Lux Perpetua have taken a long time over this debut album and it shows, the record is full of power metal anthems, turn it up loud and raise a fist to the sky. 9/10

Blaze Bayley: Endure & Survive (Blaze Bayley Recordings)

This record is the second part of a trilogy following a re-programmed assassin on a quest to dealing with what it is to be human, it's the follow up to Infinite Entanglement and continues the high concept science fiction storyline, with the protagonist finding out what his true purpose is. Once again Blaze is backed by Chris Appleton (guitar), Martin McNee (drums), Karl Schramm (bass) aka Absolva and they clearly know how to make a traditional metal racket with a thundering rhythm section, galloping riffs and explosive solo's they play like they are more than just a three piece. As I've mentioned before Blaze's solo records are much heavier than Wolfsbane and even his Maiden work, it sets them apart and actually enamours me to them because of this.

This ninth release is no exception with the title track expertly moving between, power-thrash riffs, Blaze's booming unique vocals and spoken word storytelling from Aine Brewer, Proprietor of Cardiff's Fuel Rock Club Rob Toogood and Michelle Sciarrotta; who also provides Nylon Guitars along with long term Bayley collaborator Thomas Zwijsen, see Remember for the classical acoustic sound. Endure & Survive adds a darker sound than the previous record, the story gets grittier and as such so does the music.

It's a great heavy metal record full of horn throwing proper metal, an interesting cinematic story concept and Bayley's muscular vocals being flexed better than ever before. With tracks such as Blood, Destroyer and the gargantuan Together We Can Move the Sun it means this record not only satisfies as the second part of the trilogy but stands up on it's own merit as well. 8/10

Majesty: Rebels (Napalm) [Review By Rich]

Majesty seem to be one of heavy metals best kept secrets. They have been pumping out album after album of heavy metal greatness since 2000 yet don't seem to be very well known outside of their native Germany or mainland Europe. With the release of their ninth album Rebels they will hopefully garner some new fans internationally as it is an absolutely cracking record. Majesty play a very Manowar-inspired style of heavy metal also mixing in elements of speed metal and European power metal.

The album of chock full of cheesy fist-pumping metal anthems which will be stuck in your head for hours on end with highlights such as Rebels Of Our Time, Fireheart and Heroes In The Night being simply irresistible to a fan of cheesy metal such as myself. With Rebels Majesty have continued down the path of true metal greatness they have laid with their previous albums. It doesn't add anything new to the Majesty sound but is catchy, silly and damn good fun which is exactly what you want with this style of metal. 8/10

OHHMS: The Fool (Holy Roar) [Review By Rich]

UK sludge metal outfit OHHMS return with their first full length release The Fool. For an album with only six tracks there is a lot going on throughout The Fool from dense crushing riffs, atmospheric passages and shoegaze soundscapes. After an acoustic intro you have a trio of songs that mix that sludgy denseness with atmosphere that veers between epic and melancholic. Although these are lengthy songs the amount of changes throughout simply demand your attention. The most noticeably different song here is The Lovers with it's almost dream-pop/shoegaze sound complimented by clean male and female vocals.

This then goes into what is the centrepiece of the album - the monolithic 21 minute plus The Hierograph which starts with hypnotic droning guitars slowly building as the song begins to take shape ending in what is the most atmospheric song on the album. Unfortunately at 21 minutes it does tend to go on a bit too long but this is an extremely minor criticism. With The Fool OHHMS prove themselves to be one of the top sludge bands in the UK at the moment and I cannot wait to see what they have in store next. Fans of Neurosis and Cult Of Luna really need to check this album out. 8/10

Devin Townsend Project, TesseracT & Leprous, Colston Hall, Bristol

Finally a chance to see Devin Townsend in a venue with good sound and promising support was too much of a opportunity to pass up so, over the bridge to the majestic Colston Hall arriving shortly after the doors opened, through the labyrinthine venue I took a seat at the back of the venue due to the limited standing space at the front and within five minutes Norweigian band Leprous (7) took to the stage, this was my second viewing of Leprous and my how things have changed their songs are now more direct, euphoric and emotive than before, using the low-lights to dramatic effect Einar Solberg prowling the stage with mic in hand before getting back behind his keyboard, it was great to see an animated keyboard player for a change as Solberg commanded the stage from Foe through to Slave. With a prog-metal crowd and more than a few Ihshan t-shirts (Leprous are his solo backing band) Leprous' electronica-driven prog metal received a warm response from the Hall and set a high watermark

Next it was time for TesseracT (8) who have always been at the forefront of djent but appeal to me due to the soaring clean vocals the employ, but my one criticism of them live is that they are not the most visual of acts, well consider that changed, the use of lighting in this set was some of the best I've seen in a long time, the band were pretty much in shadow for the majority of the set as the lighting set the mood in sync with the poly-rhythmic riffs, it was great to hear Dan Tompkins once again behind the mic displaying one of the widest vocal ranges in the business. The songs came thick and fast each flowing in and out of one another making the set flow well, the band are all incredible musicians and their powerful, modern sound, resonated with the crowd who cheered during the very short gaps between the songs, with so much turmoil surrounding vocalists having Dan back means the band are now firing on all cylinders and taking the position in the prog metal world that they deserve.

Whereas TesseracT had little chat and messing about the same cannot be said about the headliner, one of the issues I've had with Devin Townsend (7) is that he does tend to ramble on a bit too much during his sets, he has gonzoid sense of humour we all know but he also seemed to be in the grip of an anxiety during the set, he punctuated each song with incessant rambling and churlish humour. I'll be honest Devin is a genius but I came to this show because the last one I attended in Bristol was a washout due to Devin's voice being all but lost, I didn't enjoy that set and unfortunately I found this set a bit stale, yes he played the best tracks from most recent release Transcendence with Failure, Stormbending and Higher all featured but most of the set was the normal Devin mixed bag of older solo material drawn from Devin Townsend, Devin Townsend Band and Devin Townsend Project.

The heaviness coming from Hyperdrive! March Of The Poozers and the heavy as all hell Planet Of The Apes, there is a reason why they call him Hevy Devy but he also showed the duality of his work with Where We Belong and the sing along acoustic Ih-Ah. Yes the playing was at the normal high level, the band all as good technically as Devin but the whole show just lacked a little something, I've been on the Devin train for a long time now but maybe it's a sense of consistency breeding contempt, as good as everything is played and delivered there was a sense of going through the motions of a normal Devin gig. Is Devin still in a league of one? Yes he is. Will I see him again? I'm not sure, for me the train is approaching it's last stop.

Memoriam: For The Fallen (Nuclear Blast)

If like me you were lucky enough to have seen Bolt Thrower before their untimely but totally understandable cessation in 2015, you will have been waiting for this release with a real sense of anticipation. The Hellfire Demos certainly whet the appetite and Memoriam’s pre-Christmas show at The Asylum in Birmingham demonstrated that the band were the real deal in the live arena. However, the arrival of their debut album, For The Fallen is the acid test. And it does not fail in any aspect. The reunion of Karl Willetts and former Bolt Thrower drummer Andrew Whale elicits many memories but this is not a trip down memory lane.

As Willetts stated recently in Terrorizer, “This is a new band and we’ll do things our way”. With the addition of Benediction bassist Frank Healy and live guitarist Scott Fairfax, Memoriam contains enough fire power to destroy anything in their path. Opening track Memoriam is a real statement of intent, a crushing brooding beast which segues neatly into the now familiar War Rages On. This is a mesmerising track, full of power and bone crushing riffs. Willetts has added a little melody to his death metal growl but this merely enhances a truly magnificent vocal performance. Reduced To Zero is a slower, muscular track, one of four on the album clocking in at way over six minutes.

The punk infused battery of Corrupted System follows, Whale’s spine crushing drumming making a mockery of the fact that the guy hadn’t been in a studio for the best part of two decades. A statement about the current political shambles, Corrupted System is razor sharp, pacey and just full throttle. Flatline is next, a huge chunky slab of old school extreme death metal, Whale and Healy holding the song together whilst Fairfax unleashes some brutal slicing guitar. The song also contains an almost Slayer like chug in the middle section, evil and atmospheric whilst retaining the heaviness expected. The speed increases for the next two, with Surrounded By Death possibly the best three minutes you’ll hear this year.

Crashing power chords, ball shattering bass drumming and Willetts once again delivering in his own inimitable style. The change of pace is impressive, allowing you little time to draw breath until the final beat. It’s far from over though with the might of Resistance crashing straight in, the memorable riff both familiar and refreshingly new. Album closer Last Words is emotionally charged but holds no prisoners with a charging gallop. At close to nine minutes it is a fitting closing track, epic in both construction and delivery.

It's been over 11 years since Bolt Thrower’s For Those Once Loyal was released. It’s good to have Willetts and Whale back delivering the goods. For The Fallen lives up to all the expectations. Quite magnificent. 10/10

Anewrage: Life Related Symptoms (Scarlet Records)

This is album number 2 for the Milan based outfit and if you enjoy the alt-rock scene then it’ll probably be something to get hold of. It’s full of chunky rhythmic changes, beautifully clean vocals and some intense guitar work. There is a whole range of influences cascading through Life Related Symptoms, with djent style bass work, all leaping and driving very noticeable. Evolution Circle for example swings into nu-metal territory and splashes a bit of grunge into your face whilst Linkin Park spring to mind on Floating Man.

The overall atmosphere is one of melancholic and misery, something that sits comfortably within the genre. Axel Capurro and Mauel Sanfilippo’s intricate guitar work is never lost in the mix whilst Capurro’s clean voice really gives this release a bit extra. Bits of Soundgarden and the Deftones drift in and out but Anewrage are far from a tribute band. Their compositions are crafted and well-constructed. A very interesting release and worth a listen. 8/10

Havok: Conformicide (Century Media)

It’s been four years since Denver thrash quartet Havok released Unnatural Selection. Conformicide captures the best of Megadeth and Exodus thrown into a snarling mosh pit and vomited out at 100mph. Fast, furious and spectacularly old school. David Sanchez’s vocals sit somewhere between Bobby “Blitz” Ellesworth and Steve Souza. You’ll either love or hate them. New boy on board is Nick Schendzielos whose bass lines are running riot throughout. Otherwise, Havok deliver exactly what you’d expect. It’s solid thrash metal with chunky riffs, enormous stomping sections and flat out speed. However, when you compare Conformicide to this year’s fantastic offerings from Overkill and Kreator, both 30 year plus veterans you realise that Havok have a way to go before they get to the Premier League. 6/10

Them: Sweet Hollow (Empire Records)

Them are an internationally based King Diamond tribute band who have decided to write and record their own material with 'Sweet Hollow' being their debut album. The band is formed from members and ex-members of bands such as Symphony X, Ross The Boss, Suffocation, Coldsteel & Lanfear so this is no bunch of amateurs. As you can tell from their tribute act past and influenced band name there is a massive King Diamond influence throughout the album both in tone and in the horror inspired lyrical themes.

Musically though generally the band stand on their own two feet and play classic heavy metal with touches of power metal and thrash metal. With the calibre of musicians involved in the band everything is played to perfection and special mention must go to vocalist Troy Norr who ranges from King Diamond falsettos and mid range clean vocals to a harder gruffer vocal style. The songs throughout are catchy and theatrical but also hard hitting enough for fans of the heavier end of metal to still enjoy. All in all this is a very enjoyable album which has enough King Diamond influences throughout to please fans of his but also enough originality for general heavy metal fans to enjoy. 8/10

Sail: Slumbersong (Hibernacula Records)

Slumbersong is the debut album by Sail formerly known as Husk. The album incorporates many different sounds and is a big reflection on the variation currently within the sludge metal genre. The album ranges from groovy riffs to atmospheric progressive soundscapes to catchy almost poppiness. The band wear their influences on their sleeves and you can hear bands ranging from Mastodon, Baroness, Pallbearer and Torche in their sound. The album almost works as a love letter to the genre of sludge metal in 2017. The harder hitting songs such as Righteous and Old Tom work better and are more preferable than some of the most drawn out atmospheric songs which can get a little tedious. This is still a very enjoyable album which celebrates sludge metal in the 21st century though it does lack a bit of its own identity. 7/10

Basement Torture Killings: There's Something About Beryl (Grindscene Records)

Basement Torture Killings return with album number three There's Something About Beryl which is the first album with frontwoman Millie Crampton aka the eponymous Beryl. The album is 34 minutes of extreme metal insanity taking elements from old school death metal and grindcore and mixing them into a concoction of blood, guts and terror. There is very much a retro sound to this album sounding a lot like early 90's death metal and grindcore albeit complimented by a modern production sound. The songs all hurtle by with plenty of speed and ferocity and have all the common traits of the genre - savage riffs, blastbeats, guttural vocals and horror movie samples. Unfortunately there is very little in the way of variation and many of the songs are difficult to distinguish apart from each other but that being said this is a very fun and enjoyable album. 7/10

Sumo Cyco: Opus Mar (Self Released)

“Listen to raggapunk” read the slogan on an old school Skindred t-shirt. This would be good advice if there were any bands other than the Dred making music of that genre (well, there was Zeroscape I suppose but let’s overlook their failed attempt to start a musical feud with Benji & co). Fast forward a mere decade or so later and enter Canadian four-piece Sumo Cyco whose style is probably best described as punk laced with elements of dance hall and who clearly owe a very large musical debt to Skindred and – by extension, as they are still a going concern today – Dub War.

Despite singer Skye “Sever” Sweetnam’s recent assertion that without Skindred there would be no Sumo Cyco rest assured they are no mere clones. Sprinkling their influences into their own musical melting pot they manager to evoke similar sounds yet clearly have their own musical identity. Much of this is down to Sever’s distinctive vocal style, effectively combining moments of rapid-fire delivery (as on The Broadcasters) with melody (Kids Of Calamity) and aggression (Anti-Anthem) all of which gives the Cyco's their own unique sound. Couple this with guitarist and co-songwriter Matt “MD13” Drake’s knack of writing catchy, spiky riffs (such as on Sleep Tight) and killer choruses (Free Yourself) and we have a very tasty musical feast here on their sophomore PledgeMusic-funded album.

Opus Mar’s lead single and opening track, the aforementioned Anti-Anthem, is in many ways the quintessential Sumo Cyco song, showcasing as it does Sever’s vocal flexibility, MD13’s riffing, the signature dance-hall-flavoured breakdown and of course that all-important killer chorus, all underpinned ably by the rumbling bass of Kenny “Thor” Corke and the rhythmic drumming of Matt Trozzi (who, oddly, isn’t credited as a full-time member of the band in the CDs notes, even though he played on every song bar one). The dance hall elements of SC’s sound appear to be more emphasised on this release than 2014’s debut Lost In Cyco City but in this writers opinion it’s to the benefit of the album as whole giving some of the albums quieter moments (such as during Brave II, a successor to a song on that debut) a funky swagger and attitude all their own.

There is also second single Move Mountains which features a guest verse from none other than Benji Webbe himself which is yet another highlight amongst a very strong set of tracks. It’s probably safe to say that if you enjoy the two singles released thus far then you’ll enjoy the rest of this album. Upon it’s release on March 31st, I strongly suggest you take the advice adorned on that Skindred t-shirt. In fact I’ll give you some more specific advice – listen to Sumo Cyco. 9/10

The Silent Wedding: Enigma Eternal (FYB Records)

Greek progressive/symphonic metal band with a male singer, sounds a bit like Kamelot or Serenity with the melodic metal sounds intertwining with cinematic synths (see Under The Veil Of Grey). The dramatic intro leads into first song Shadows & Dust which sets things in motion very well as it has changing time signatures, a crunchy riff and floaty keys and really displays the range of vocalist Marios who has a melodic but lower register voice much like Khan (Kamelot) or Georg (Serenity) that entirely fits the musical style there's a certain sadness to his vocal and it does wonders on the melancholic style of the band. This is the band's second album and it is a step up in songwriting as the tracks on this record are more complex and carry a gravitas that make you invested in them, this is helped by the production which is crisp if a little thin, it displays all of the facets of this bands talents. The Endless Journey has impressive double kicks, buzzing industrial electronics and the excellent vocals again. The other big influence I can hear in this record is Evergrey so it's fitting that Tom S Englund comes on board to add his weighty baritone to the Gothic A Dream Of Choices. I really like this record, it's the sort of mature, bittersweet, intensely musical I enjoy having named three of my favourite bands as influences I guess it's only natural that I'd like it. High quality progressive/power metal with an emotional punch. 8/10

Dead South Dealers: Walk Through The Line (Sliptrick Records)

Southern heavy metal that reeks of bourbon and beer, Walk Through The Line is the kind of bar brawling music favoured by the Stetson clad tattooed Dean Razorback wielding members of the NOLA crew. It may come as a surprise then that Dead South Dealers come from Athens Greece as their brand of blues-influenced dirty Southern metal sounds very authentic. D.S.D is a highlight of the record dripping with chest beating machismo and reverb drenched soloing layered over the groovy rhythms. Lost Within Time is a slower piece successfully pairing an acoustic opening with crawling riffs, Walk The Line has more acoustics and takes things into slow-moving impactful territory. DSD are as near to the Southern metal favourites as you can get, you can practically smell the bayou on Fairies Of The Swamp and if you love the NOLA blues influenced stoner metal then I urge you to Walk Through The Line as soon as possible. 7/10

Quadrus: Entropia (Self Released)

This an interesting record, sounding like a film score orchestra and a death metal band having a fight, John Galanakis is the brains of the outfit giving this record the rhythm guitars, orchestrations with the harsh/brutal vocals, he takes a similar role to that of Mark Jansen in MaYan or Epica, sound-wise Quadrus share similarities with Epica and Wintersun. However unlike those bands the sound quality of this record is shocking, it sounds like Epica and Wintersun playing together at the same time, but they are playing totally different songs. With operatic vocals, cinematic synths and furious riffing all the elements are there but they are so randomly placed and poorly produced but everything's a blur. Entropia tries to be so much but fails unfortunately. 5/10

Obituary: Self Titled (Relapse)

The teaser EP Ten Thousand ad Ways To Die which signalled the return to the studio of the Floridian Death Metal legends back in November 2016 was a tasty morsel which really left a desire for more. Well, the wait is over as album number 10 has arrived and what a monster it is. Absolutely packed with vicious riffs and skull pounding death metal, the masters have once again shown that age is no obstacle to class. 2014's massive Inked In Blood was a brutal bastard but in my humble opinion Obituary kicks harder, stronger and more impressively.

With the pace changing from track to track, one thing that doesn't vary is the sheer heaviness. Opener Brave finds John Tardy on stunning form, racing his distinctive vocals at top speed. End It Now and Turned To Stone are just two highlights of the sheer power of one of the best bands in the genre but it's on Straight To Hell and Ten Thousand Ways To Die that the band really hit top gear, brooding sinister and absolutely unstoppable. In a year with some of the best death metal releases hitting the shelves (see Hour of Penance, Immolation, Benighted and Memoriam for examples) Obituary has delivered a contender for the top spot. Buy it. Crank it up. Split the skull. Magnificent. 10/10

Svart Crown: Abreaction (Century Media)

Blackened death metal of French outfit Svart Crown return after 2013’s Profane with a blistering release. Abreaction is full of cascading riffs, threateningly evil vocals and blisteringly heavy drumming. The band has been around since 2004 and they know what they are doing. JB Le Bail’s guttural grows adds a sinister edge to tracks like The Pact: To The Devil His Due which drips with haunting malice.

Opener Golden Sacrament nods the head to doom whilst Carcosa is a thrashy beast. With slicing vicious guitar work courtesy of Le Bail and new guitarist Kevin Verlay added to the powerhouse battery of Kevin Paradis’ drumming and Ludovic Veyssiere’s driving bass lines, Abreaction has plenty of slower pieces, drifting perilously close to the death doom metal line at times; Upon This Intimate Madness is a behemoth crashing along.

A hugely powerful industrial sound changes pace on Tentacion before leading nicely into the head splitting Orgasmic Spiritual Ecstasy. This is not music for the faint hearted. Svart Crown are crushingly heavy, dangerously brutal and clearly give zero fucks. 7/10

The Crawling: Anatomy Of Loss (Grindscene Records)

Anatomy Of Loss is the debut release from Northern Ireland’s The Crawling and it’s a mix of death and doom. The three piece make quite a noise and three years from their formation have started to find a sound which will appeal to fans of the death doom genre. There are elements of the melodic death metal sound similar to In Flames and Arch Enemy in places and a vocal delivery on a par with Angela and Alissa. Acid On My Skin is case in point. Doom has always verged between exciting and powerful (Candlemass) or a bit on the ponderous over bloated sound. The Crawling currently sit somewhere in the middle.

Stuart Rainey’s vocals fit comfortably with the more crushing and plodding elements whilst Craig Beattie’s thunderous drumming provides a powerful backdrop. However, it’s when the band really let loose, such as the middle section of closing track Catatonic that it gets a bit more fun and guitarist Andy Clarke can let rip. The difficulty with the death doom genre is that so much of it is just a bit average and repetitive. Few can match the power of Finland’s Vainaja who to my mind changed the blueprint with their recent releases. The Crawling have potential. Whether they can achieve it is up for debate. 6/10

Axxis: Retrolution (Nuclear Blast)

Axxis have been around since 1988 and this is album number 15. Original members Bernard Weib (vocals) and keyboardist Harry Oellers are currently joined by long serving bassist Rob Schomaker, drummer Dirk Brand and 2015’s addition guitarist Stefan Weber. Described in some quarters as national legends, the band do a great deal of charity work in their home town Lünen. (Cue Smashie and Nicey - Ed)

I must admit my first thought was more about the use of Retrolution as an album title. For the uninitiated Retrolution refers to a right-wing reaction against modern society and politics. Phrases such as ‘taking my country back’ are associated with this. However, I’m not sure whether the Rhine Valley’s heavy metal veterans are extreme right wingers or not. Reading some of the blurb about the album release would suggest a more naïve explanation which is that they’ve merely merged the words retro and revolution to capture the current increased demand for vinyl in the rock world and the continued interest in older bands. Let’s hope it is that one.

So, what about the Axxis sound? Well, in the main, it’s routine and tepid Germanic hard rock. You won’t get the power metal surge of Primal Fear or Helloween or the onslaught of Kreator, Sodom or Destruction. No, Axxis sit firmly in the bland inoffensive section. Like the bloated commercial excesses of Scorpions, tracks such as Do It Better and the ballad Burn Down Your House are ponderous and unexciting. The acoustic Queen Of The Wind is the lighters aloft moment. It’s a decently constructed song, and Bernard Weib’s distinctive voice (a kind of hard rock Jon Anderson) copes admirably with the soaring range required.

I just find all acoustic ballads a bit disturbing. Seven Devils and Somebody Died At The Party are just drivel. However, it’s not all bad. The pumped-up power of This Is My Day motors nicely and when the band put the foot down the output is pleasingly comforting, a bit like Scorpions in their prime. It just doesn’t happen enough. Unfortunately, overall this is just a bit bland. 5/10

Gojira - O2 Academy Bristol

A sold out crowd in boisterous mood meant that this was an evening of high intensity for start to finish. Securing a place on the balcony early doors gave a great view and a much more bearable temperature for the evenings fun and games.

New Yorkers Car Bomb (5) kicked off the evening with the audience still filling the venue but already a high percentage had decided it was worth getting in early. Car Bomb are an acquired taste, their discordant polyrhythmic mathcore at times a disjointed cacophony. The band are high on intensity and aggression, which is conveyed in their sound. The buzzing crowd responded positively, although they made no impression on me. The band have toured with Gojira a number of times so it's likely that Car Bomb will be back.

Confidence is not something that Code Orange (6) lack. Hitting the stage with a swaggering arrogance that only American bands display, the Pittsburgh based outfit blasted the Academy with their blistering uncompromising hardcore approach. Drummer Jami Morgan is bizarrely the focal point, his screaming vocals and constant coercion to the enthusiastic pit strangely endearing. Amidst all the chaos of a set that was disjointed and chaotic, which I guess is part of the approach, Reba Meyers took lead for the one clean vocal track, but chaos soon returned with tracks like Forever from the album of the same name turning all those on the floor into a gibbering mess. "This is the new shit" screamed Morgan towards the end of the set. Hmmm. If that's the case I may stick with the old. But then I am old!

2016 was the year Gojira (9) really moved into the premier league. On the back of their brilliant release Magma, the band has developed into a slick headline band who have sold out virtually every show on their tour including Brixton Academy. No mean feat. Recent visits to these shore saw a blistering special guest slot at BOA and a show stealing support to Alter Bridge during the autumn whereby all accounts they blew both the headliners and main support Volbeat to shit. Judged by tonight's showing it's no surprise. The Frenchmen were imperious, laying waste to the venue with a set as intense as I've ever seen. The wall of sound these four men lay down almost defies description. Heavier than anything that had gone before, their sound envelopes you and sucks you in. Industrial, brutal and totally absorbing.

Gojira now have a set list to rival any of their peers. Six tracks from the monumental Magma were greeted like old favourites, whilst the veteran tunes from Ocean Planet and From Mars To Sirius elicited the mightiest roars. Opening with Only Pain and segueing right into The Heaviest Matter In The Universe the band didn't drop the pace for one minute. With Mario Duplantier destroying his drum pedals, the only cessation in the assault was due to technical support. The rest of the set list almost wrote itself, with the mighty Flying Whales, complete with beautiful footage of a humpback on the screen behind was just mesmerising. The new tracks sit comfortably in the set, with set closer Pray rivalling a pulverising Backbone for song of the evening.

My only complaint as is my usual beef was the inclusion of a drum solo. If ever there was a band that didn't need to showcase the drumming it is Gojira. However, there are always reasons and as solos go it was decent. Joe Duplantier, who has emerged as a Goliath frontman noodled a little at the start of the encores before Oroborus and Vacuity closed a phenomenal set. Bassist Jean Michel Labadie finally came to a stop as the show ended, having put in another energetic show whilst Christian Andrew never stopped smiling. As the sweat dripped off the walls of the venue, the band vowed to return soon. they proclaimed Bristol the best crowd of the tour and whilst bands often say that this time there was real truth. The crowd were as intense as the band, feeding off the energy of each other. A fine evening from one of metal's most exciting bands.

The Hewitt Perspective:

Gojira have been a favourite of mine since seeing them in the Cardiff union a few years ago, and no matter how much I prepare myself for their gigs I am always taken back by the sheer power and heaviness that they offer up, which, more impressively is never diminished by the astonishing volume they present it with. These guys are the epitome of a perfectly well oiled machine that clearly love what they do, pouring their heart and soul into every album and live performance. Throughout the hour and forty five minutes Gojira dipped into their entire back catalogue providing us with a plethora of songs including The Heaviest Matter Of the Universe, L'Enfant Sauvage, Toxic Garbage Island and the ever phenomenal Flying Whales which satisfied all fans old and new. From the Duplantier brothers Joe and Mario to Christain and Jean-Michel each member of the band showed their skills and tightness across the entirety of the set. Testament to this was the synchronicity in which the crowd banged there heads to the heavy bass laden riffs and breakdowns that Gojira constantly threw our way all night.

Circle pits and walls were breaking out left right and centre with little encouragement from the band. Halfway through Mario lost suffered a heavy loss of a bass pedal (unsurprisingly) which thankfully was quickly replaced as that pedal is the centre of what the band do. Seamlessly working their way through the eighteen song set there was little time for chit chat, however Joe did seem a little taken aback at to the crowds reaction at one point, leading him to highlight the fact that last time Gojira were in town they had to cancel as they only sold four tickets! Sounds crazy I know, but this just shows the work this band have had to put in to earn their greatness and support... damn don't they deserve it??!

Sadly the evening had to come to an end but it was done in style with a three track encore consisting of a guitar solo followed by a beefy breakdown and then bone crunching but brief songs; Oroborus and Vacuity. I left the venue like most people present; with a slightly broken body, buzzing ears but with a massive smile on my face which still remains as I write this. Gojira somehow manage to build upon perfection every time I see them, I cant wait for their next visit... next time hopefully in Cardiff.

Pallbearer: Heartless (Nuclear Blast)

Having only recently discovered Little Rock, Arkansas' Pallbearer I have avidly listened to their two previous records and I really think that they could be one of the best doom bands around today moving away from the abrasive sometimes overly slow delivery of other bands in the doom genre. Pallbearer add a much more psychedelic, melodic sound to their songs, yes they sprawl with most of the songs over 5 minutes long, two clocking in over 10 minutes but the musical dynamics involved means that the minutes fly by as the dual harmonic guitar playing from Devin Holt and Brett Campbell is reminiscent of bands such as Wishbone Ash and Thin Lizzy along with more modern purveyors like The Sword and even Mastodon. Lie Of Survival is prime example of this with fly away clean guitar riffs moving into the deliberate, heavy riffs associated with doom bands.

On the title track they display everything that makes them great, fuzzy bludgeoning riffs, a heavy low end from Joseph D Rowland (bass) and Mark Lierly (drums), shifting time signatures and sounds that are augmented by Campbell's excellent clean vocals. Heartless only has 7 tracks but they are all incredible, the first four blend so beautifully that you'd be forgiven in thinking they were one song, the album builds and builds releasing every single ounce of emotion on the incredible A Plea For Understanding, clocking in at just over 12 minutes it's a magnificent piece that serves as a fitting climax for a monumental album from the US band. I may be late to the Pallbearer bandwagon but I can see it gaining an awful lot more momentum on the back of this fantastic record. 9/10

Eclipse: Momentum (Frontiers Records)

Those of you that follow the Scandinavian melodic rock/AOR scene or indeed Frontiers records releases will have heard of Erik Mårtensson the vocalist guitarist is a key member of W.E.T, Nordic Union and his main band Eclipse. He also writes for and produces many of the albums released by Frontiers, clearly a man with a Midas Touch for gleaming melodic rock (and a huge work rate) it's only been two years since Eclipse last released a record and now their sixth is ready to drop. Once again it's probably some of the best melodic rock around, continuing Eclipse's upward trajectory as the worthy successors to bands such as Journey.

Since their last record they toured almost relentlessly for two years and having seen Eclipse live I can tell you that this Journey comparison is not hyperbole, they have the ability and most importantly the songs to make it big. Momentum builds just that raising the stakes established on Bleed & Scream and Armageddonize with a sharper focus, huge hooks, impressive guitar work from Mårtensson and long term collaborator Magnus Henriksson that mean that the songs on this record resonate in your mind for a long time. Opening with Vertigo they kick things off in style with a fist in the air rocker, one of many, it's music that makes you want to just go wild, shout along and air guitar with abandon, cue No Way Out.

This record is fun from beginning to end rarely dropping in quality, Black Rain is a heavy one, swaggering and moody it still has a glorious chorus and orchestral elements, The Downfall Of Eden is one of the records best tracks, immediate and driving with a slight folk influenced dramatic track that actually could represent Sweden at Eurovision (it even works in the acoustic version bonus track) even the ballads are tough, Hurt is a darker ballad that could have come off a Sixx AM record with the lush symphonies and sparse delivery but it's the superior hard rockers that frankly litter this album that will make you stay. Momentum is a truly great melodic rock album and I can't wait to see them in Bristol on the 23rd April. 9/10

GraViL: No More Forgiveness (Self Released)

London melo-death mob started out as just two men, since then the membership has expanded and changed with the one constant being frontman Grant Stacy, it's his evil vocals that are the link between this album and the early EP's, the first one I heard being Age Of Corruption which I got in a Darkstore (R.I.P) goody bag. They really found their feet on 2013's Thoughts Of A Rising Sun expanding and rounding out their sound very well and this has continued on this second full length, noticeably darker (if that's possible) than their first record the band has always been politically/personally charged and with the current state of the world this record is angry and remorseful in equal measure but with hope cutting through.

According to frontman Grant "There is a massive sub-context of loss within the new album, with 2016 notably being a brutal year, however No More Forgiveness pulls in a lot of strength from negativity." That brutality is reflected in the songs, it's pummelling death metal with furious guitar solos, bullet train speed drumming and industrial touches (Locate The Traitor) that means the tracks stomp, crush and groove in equal measure.

With the furious riffage of I Am Blood, the grinding riff of Plagues, Thieves And Murderers and the symphonic curve-ball of Fractured, Divided which adds soaring female vocals. GraViL are still a major force in the UK underground scene but I can see No More Forgiveness taking them to that next level, four years on from their debut and GraViL retain the high quality melodic death metal heard on their debut. 8/10

Sonata Arctica - Tramshed, Cardiff

Paul- Having checked that all vital organs were still located where they were meant to be after the battering that Gojira gave them the night before, we headed the Tramshed in Cardiff for a night of total contrast. It's very rare that the UK gets a visit from the power metal Finnish outfit Sonata Arctica but combined with an even more rare appearance from Triosphere and Striker meant this was one not to be missed.

Unfortunately the metal crowds of South Wales clearly didn't feel the same as there were some rather large gaps in the venue. Kudos to those who made the effort on a Sunday night. Their noise for each band made it feel like the venue was full and we were rewarded with an evening of high quality as a result. With the battle for Womanby Street beginning, you do sometimes wonder whether the metal fraternity of South Wales gets what it deserves. Make sure you cram into the cowshed for Slipknot, Korn and Alter Bridge but don't support some of the hardest working bands. It makes my piss boil at times. Anyway, rant over and on to the music.

Norweigian four piece Triosphere (8) hit the stage promptly at 7:30pm and delivered some fine symphonic metal with a much harder edge. For a band that started out as a thrash band, their sound has certainly developed and anyone who has been wise enough to give 2014's epic Heart Of The Matter a listen will know that this is a band who can mix up their styles. Bassist and vocalist Ida Haukland may be diminutive in stature but her playing is solid and her voice, well, just fantastic. It's impossible to listen to her without comparing other leading metal ladies but alongside Cristina Scabbia and Kristie Kirby (ex-Triaxis), Ida has one of the most impressive voices around. Her soaring range, ably enhanced by an excellent sound (well done at the back!) ensured the band gained some new fans.

Flanked by Marius Silver Bergesen and Tor Ole Byberg and with Kenneth Tarneby pounding the skins Triosphere raced through their allocated slot, focusing mainly on tracks from their most recent release but with a dip into the past with Gunnin' For Glory from debut Onwards and Human Condition from sophomore release Road Less Travelled. Bergesen ensured that Haukland wasn't the centre of attention with some stunning guitar work, especially the bluesy solo on Breathless. He knows he is a rock star and adopts every pose in the book overdoing the posing a little for me at times. Closing with The Heart's Dominion Triosphere were worth the admission price on their own.

Fifteeen minutes later and Canadian traditional metallers Striker (8) crashed onto stage and proceeded to play as if they were headlining Download. Similar to Triosphere, Striker wasted few seconds in their set, careering around the stage and gurning in that goofy way only Canadians can. Imagine Anvil as a five piece, but with some decent songs and the energy of fellow countrymen Exciter in their heyday. It really was great to see a band having such a great time, playing quality heavy metal and loving it. And so was the crowd, who once again made a massive amount of noise for such a small gathering.

Dan Clearly is a charismatic frontman with a really powerful voice. Guitarist Adam Brown is hyperactive, climbing on monitors and generally acting the fool. It was engaging stuff and there were huge smiles all around. The band focused most of their set on their most recent two albums, the new self-titled release and 2016's Stand In The Fire. they even had the cheek to do the most Maiden style sing-a-long at the end during Fight For Your Life, which worked perfectly. A super live band with some solid songs to support the show.

Matt - Then it was time for the main event as the numbers of the crowd swelled a little, the mix of old-school rockers, lace covered goths and leather studded metallers was an overview of the style of music Sonata Arctica (8) play, it's heavy, dramatic, symphonic and joyous. Having last seen them in Cardiff in 2011 I was anticipating a similar level of energy and quality as then. As the intro tape of We Are What We Are played each member of the band took to the stage Tommy Portimo hidden behind his immense drumkit, Elias Viljanen stage right with his guitar held aloft, in fact he probably only had it horizontal twice during the show, the imposing Pasi Kauppinen was on stage left with keyboardist Henrik Klingenberg behind him cradling his keytar.

Portimo hit the switch and the set kicked off with Closer To The Animal and Life from the latetst album The Ninth Hour, just as the opening chords of Closer...hit frontman Tony Kakko swaggered on to the stage and started to belt out the words with his incredible voice, in fact the first four songs all came from their most recent releases with the excellent The Wolves Die Young from Pariah's Child and the furious In Black And White from Unia leaving the crowd breathless from fist pumping, singing and clapping. The songs demand participation but we were given a chance to breathe with the gorgeous ballad Tallulah that saw the first mass sing-along and even grown men cry such is the power of the song, it was a moving sight to see but the band effortlessly build the pace back up with the satirical Fairytale from the latest album that was followed up by going back to the beginning with classic FullMoon from Ecliptica.

There was genuine joy on the stage with Tony leading proceedings guiding the crowd through the motions, Pasi banging his head throughout and Henrik and Elias trading solos at blistering speed. As an old school Sonata fan the inclusion of Abandoned, Pleased, Brainwashed, Exploited was very much welcome especially as it was sandwiched between the symphonic new tracks Among The Stars and We Are What We Are which carries resonant message about protecting the Earth we have. The main set ended with The Power Of One and the band were off stage for only a short time before returning because Tony "forgot his drink". The encore was made up of three songs two old favourites one modern classic and as Misplaced commenced the crowd went nuts, it sounds as good now as it was when it was released, I Have The Right sat in the middle as a clarion call, the set wound up with their normal final song the awesome Don't Say A Word and the breakdown into Vodka after a bit of crowd call and response.

Sonata Arctica are one of the top power metal bands in the business and this show deserved a bigger crowd than it actually got, three great bands for a good price, in a great venue (that still needs aircon) As Paul mentioned at the top, to really save the local scene we must attend these shows in larger quantities otherwise they may disappear all together.

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