Zeal & Ardor: Live In London (MVKA) [Rich]
Unless you have been living under a rock it has been impossible not to hear about Zeal & Ardor. They were easily the most talked about band of last year with their unique and original blend of African American spiritual music, blues, gospel and soul mixed with extreme metal. Their second album Stranger Fruit made it into many top album lists of the 2019 (including my own) and riding off the success of that album the band embarked on a extensive and mostly sold out tour at the tail end of 2019 with Live In London being the recording of the show in the Electric Ballroom.
Live albums can be hit or miss especially when it comes to the quality of the recordings but Live In London is an especially good live album. It sounds absolutely incredible thanks to the amazing mix by Kurt Ballou and Alan Douches. The songs positively thunder out of the speakers and sound simply massive. The performances are all outstanding as well with every member of the band sounding like they are playing for their lives. There is also a damn fine extensive 22 song setlist for this show with songs taken from both the Devil Is Fine and Stranger Fruit albums but also four brand new songs are performed the stand out of these being the sublime Baphomet. There are furious renditions of Blood In The River, Row Row and Don’t You Dare whilst the more soulful numbers such as Gravedigger’s Chant and Built On Ashes bristle with intensity and emotion.
Live In London is an absolutely superb live release from Zeal & Ardor that truly justifies the huge amounts of hype around the band. It’s a great starting point for someone who has never heard Zeal & Ardor with all the songs having a humongous sound that can be lacking from the studio versions. This release proves that despite their unique merging of musical styles that the band are far from a mere gimmick and are proving themselves to be one of the most unique and essential acts in contemporary metal. Seriously check this out. 9/10
Augmented: Two Worlds (Self Released) [Sean]
Take a wild guess what this is going to be? We’ve got a cyborg on the cover, a purple hue surrounding him and the band is called Augmented? Clearly depressive raw black metal! Tech!? NO WAY! All jokes aside, Augmented are a brand spanking new band (its true, they don’t even have a Bandcamp yet) from Florida, in the good ol USA. With Two Worlds being their first release, my initial assumptions were mostly justified. Chunky ass downtrend guitars? Yep. Lyrics about machine and general science fiction bollocks? Double yep. Weird time singers? Yep, yep, fucking yep! So, fresh of the assembly line, is Two Worlds the killing machine it sets out to be? Analysis required. Review.exe activated!
Two Worlds starts with the usually sample ones would expect, rumbling and distorted setting the scene for the technological dystopia that’s about to follow. What I’m eventually greeted with is ‘Airlock, what can only be described as Meshuggah, sans all the nifty bits. Sure it’s loud and stomps along, but it’s grooves are uninteresting and riffs are ultimately unmemorable. Not exactly the best start, which isn’t improved by the second track Beneath The Earth. I’m sure this wouldn’t sound of place on a wrestling game and it certainly isn’t bad, just very pedestrian. Borecore isn’t a genre but after listening to the first half of Evolution, I’m beginning to think it may be. Things become more interesting in its second half, preparing me for the surprisingly good Helios. You were holding back on me, huh? The added blast beast amongst the low strung antics greatly add a sense of urgency, finally bringing Augmented to life!
A dissonant lead sounds off in the distance, adding some much needed depth and texture. The Songwriting only improves with The Construct, with it’s greater emphasis on mid paced tech, showcasing just how tight and talented this fledgling band are. Calling Of The Storm is another slammer, fusing everything together in cohesive unison. The added melo death riffing is also a nice touch. Terror God has me completely in it’s mechanised grip, which can’t be said for Ascendant. Whilst better than the opening numbers, it still feels like we’ve downgraded and regressed, especially since we’ve just been treated to Augmented’s latent power. It closes on Epoc Of Distortion a 7 minute declaration of Augmented’s mechanised intent.
Yah know what? There’s oodles of potential here. If we sift through the obsolete elements, we get the blueprints of what makes Augmented quite the promising prospect. We get the impression of a young band more than capable of throwing caution to the wind, experimenting, rising to the occasion and delivering a solid slab of tech metal. For what it lacks in cohesion and consistency, Two Worlds does display a remarkable amount of compositional maturity in its progression, ensuring that Augmented move ever closer to their final form. It may not have stared well, but Two Worlds is solid first step towards technological superiority. I, for one, will most certainly be seeing watch. 7/10
Nocturnal Witch: A Thousand Pyres (Evil Spell Records) [Sean]
Man, you now some nasty shit is about to go down if your bands first name is Nocturnal (excluding later day Nocturnal Rites, ofc). Adding Witch to the end is only a bonus, giving me a pretty clear indicator of what’s about to explode out of my speakers. We’re not going to be sampling the most cutting edge of modern metal here, no way Jose. Neither the prettiest or the most progressive, what we have is something ugly, belligerent and unrelenting in its sole desire to rip and tear. black/thrashers Nocturnal Witch are one such band, charged with satanic might and all the ruinous filth they can muster. Hailing from East Germany, the Teutonic twosome of Tyrant (vocals, guitars) and Baphomet (slutsplitting hellfire, or drums to you and me) have once again risen from the hells fiery heart. Returning with their second album, A Thousand Pyres, will Nocturnal Witch reduce all to ash?
Downfall Of The World is the first attack, blasting and roaring as one would expect. It’s fairly straightforward stuff, rapid blackened tremolo riffs leading the charge under the thunder claps of Baphomets “slutsplitting hellfire” (demonic STD,anyone?). An effective opener, more or less setting the tone for the remainder of the album. Blast, shriek, satan and blast again. A Thousand Pyres leans slightly more the on the tractional black metal, repeating riffs carving their way into your subconscious. Synths make a brief appearance, setting comfortable above the chaotic cacophony. Black Chalice brings us back to the thrash, hurtling along at breakneck pace with little regard for the innocents slain in it’s wake. Scorn And Wrath conjures moments of Blood Fire Death era Bathory, a sense of grandeur working it’s way amongst the steadfast satanic slaughter.
Dark Force is a simplistic number, not deviating from what’s already been offered but not underwhelming either. Eclipsing The Light injects a little more melody into the din of war, whilst Follow The Call briefly returns with the cinematic before hurling back into the maelstrom. It’s hard not to get swept up in the primitive gallop, my foot tapping away as Nocturnal Witch proceed to lay waste to all about them. Final track, Raise The Swords, is the thrashiest number on A Thousand Pyres, complete with all the trimming one would expect and closes this short, sharp shock of an album in suitable fashion.
There was never going to be any points award for originality, was there? Because that was never the fucking point! What we have here is an album with a single aim; kill, maim and fucking burn. Nocturnal Witch ultimately succeed in this, uninhibited and unrestrained in their pursuit of pure blackened filth. Why should they concern themselves with such things as “ingenuity” or “progressive”? I ask you, what need have they of such…alien anathema? Not Nocturnal Witch, not when all you really need is a good riff, tight execution, a belly full of fire and lungs to fucking roar. Whilst it may not offer anything beyond it’s crude desire to blast all Christendom into oblivion, A Thousand Pyres is still an enjoyable romp nonetheless. 7/10
Gutlocker: Cry Havoc! (Self Released) [Paul H]
Although this EP was released way a year ago in April 2018, the Woking sambuca bastards recent set at the BMF 666 Easter Massacre prompted me to search this out and give it a review. Gutlocker play mean and dirty heavy sludge mixed with thrash, groove and doom metal. Formed in 2012, the band are led by Craig McBrearty whose snarling vocals on this are unworldly, evil and blood curdling. How his throat remains intact is beyond me. The filthy groove of third track Stuck, with its staccato time changes provides a crazed contrast to the blistering opening duo of Bitter Memory and No Burden.
If its weighty riffage you want then get a dose of Welcome To Fucktown, which contains one of the most brutal riffs this side of Lamb Of God. Peter Tucker’s controlled but violent guitar work duels with McBrearty’s insane vocals, whilst Ben Rollinson and Dean Walker hold down the engine room. With new material due soon, Gutlocker are a band that can cut it live and in the studio. 8/10
Unless you have been living under a rock it has been impossible not to hear about Zeal & Ardor. They were easily the most talked about band of last year with their unique and original blend of African American spiritual music, blues, gospel and soul mixed with extreme metal. Their second album Stranger Fruit made it into many top album lists of the 2019 (including my own) and riding off the success of that album the band embarked on a extensive and mostly sold out tour at the tail end of 2019 with Live In London being the recording of the show in the Electric Ballroom.
Live albums can be hit or miss especially when it comes to the quality of the recordings but Live In London is an especially good live album. It sounds absolutely incredible thanks to the amazing mix by Kurt Ballou and Alan Douches. The songs positively thunder out of the speakers and sound simply massive. The performances are all outstanding as well with every member of the band sounding like they are playing for their lives. There is also a damn fine extensive 22 song setlist for this show with songs taken from both the Devil Is Fine and Stranger Fruit albums but also four brand new songs are performed the stand out of these being the sublime Baphomet. There are furious renditions of Blood In The River, Row Row and Don’t You Dare whilst the more soulful numbers such as Gravedigger’s Chant and Built On Ashes bristle with intensity and emotion.
Live In London is an absolutely superb live release from Zeal & Ardor that truly justifies the huge amounts of hype around the band. It’s a great starting point for someone who has never heard Zeal & Ardor with all the songs having a humongous sound that can be lacking from the studio versions. This release proves that despite their unique merging of musical styles that the band are far from a mere gimmick and are proving themselves to be one of the most unique and essential acts in contemporary metal. Seriously check this out. 9/10
Take a wild guess what this is going to be? We’ve got a cyborg on the cover, a purple hue surrounding him and the band is called Augmented? Clearly depressive raw black metal! Tech!? NO WAY! All jokes aside, Augmented are a brand spanking new band (its true, they don’t even have a Bandcamp yet) from Florida, in the good ol USA. With Two Worlds being their first release, my initial assumptions were mostly justified. Chunky ass downtrend guitars? Yep. Lyrics about machine and general science fiction bollocks? Double yep. Weird time singers? Yep, yep, fucking yep! So, fresh of the assembly line, is Two Worlds the killing machine it sets out to be? Analysis required. Review.exe activated!
Two Worlds starts with the usually sample ones would expect, rumbling and distorted setting the scene for the technological dystopia that’s about to follow. What I’m eventually greeted with is ‘Airlock, what can only be described as Meshuggah, sans all the nifty bits. Sure it’s loud and stomps along, but it’s grooves are uninteresting and riffs are ultimately unmemorable. Not exactly the best start, which isn’t improved by the second track Beneath The Earth. I’m sure this wouldn’t sound of place on a wrestling game and it certainly isn’t bad, just very pedestrian. Borecore isn’t a genre but after listening to the first half of Evolution, I’m beginning to think it may be. Things become more interesting in its second half, preparing me for the surprisingly good Helios. You were holding back on me, huh? The added blast beast amongst the low strung antics greatly add a sense of urgency, finally bringing Augmented to life!
A dissonant lead sounds off in the distance, adding some much needed depth and texture. The Songwriting only improves with The Construct, with it’s greater emphasis on mid paced tech, showcasing just how tight and talented this fledgling band are. Calling Of The Storm is another slammer, fusing everything together in cohesive unison. The added melo death riffing is also a nice touch. Terror God has me completely in it’s mechanised grip, which can’t be said for Ascendant. Whilst better than the opening numbers, it still feels like we’ve downgraded and regressed, especially since we’ve just been treated to Augmented’s latent power. It closes on Epoc Of Distortion a 7 minute declaration of Augmented’s mechanised intent.
Yah know what? There’s oodles of potential here. If we sift through the obsolete elements, we get the blueprints of what makes Augmented quite the promising prospect. We get the impression of a young band more than capable of throwing caution to the wind, experimenting, rising to the occasion and delivering a solid slab of tech metal. For what it lacks in cohesion and consistency, Two Worlds does display a remarkable amount of compositional maturity in its progression, ensuring that Augmented move ever closer to their final form. It may not have stared well, but Two Worlds is solid first step towards technological superiority. I, for one, will most certainly be seeing watch. 7/10
Nocturnal Witch: A Thousand Pyres (Evil Spell Records) [Sean]
Man, you now some nasty shit is about to go down if your bands first name is Nocturnal (excluding later day Nocturnal Rites, ofc). Adding Witch to the end is only a bonus, giving me a pretty clear indicator of what’s about to explode out of my speakers. We’re not going to be sampling the most cutting edge of modern metal here, no way Jose. Neither the prettiest or the most progressive, what we have is something ugly, belligerent and unrelenting in its sole desire to rip and tear. black/thrashers Nocturnal Witch are one such band, charged with satanic might and all the ruinous filth they can muster. Hailing from East Germany, the Teutonic twosome of Tyrant (vocals, guitars) and Baphomet (slutsplitting hellfire, or drums to you and me) have once again risen from the hells fiery heart. Returning with their second album, A Thousand Pyres, will Nocturnal Witch reduce all to ash?
Downfall Of The World is the first attack, blasting and roaring as one would expect. It’s fairly straightforward stuff, rapid blackened tremolo riffs leading the charge under the thunder claps of Baphomets “slutsplitting hellfire” (demonic STD,anyone?). An effective opener, more or less setting the tone for the remainder of the album. Blast, shriek, satan and blast again. A Thousand Pyres leans slightly more the on the tractional black metal, repeating riffs carving their way into your subconscious. Synths make a brief appearance, setting comfortable above the chaotic cacophony. Black Chalice brings us back to the thrash, hurtling along at breakneck pace with little regard for the innocents slain in it’s wake. Scorn And Wrath conjures moments of Blood Fire Death era Bathory, a sense of grandeur working it’s way amongst the steadfast satanic slaughter.
Dark Force is a simplistic number, not deviating from what’s already been offered but not underwhelming either. Eclipsing The Light injects a little more melody into the din of war, whilst Follow The Call briefly returns with the cinematic before hurling back into the maelstrom. It’s hard not to get swept up in the primitive gallop, my foot tapping away as Nocturnal Witch proceed to lay waste to all about them. Final track, Raise The Swords, is the thrashiest number on A Thousand Pyres, complete with all the trimming one would expect and closes this short, sharp shock of an album in suitable fashion.
There was never going to be any points award for originality, was there? Because that was never the fucking point! What we have here is an album with a single aim; kill, maim and fucking burn. Nocturnal Witch ultimately succeed in this, uninhibited and unrestrained in their pursuit of pure blackened filth. Why should they concern themselves with such things as “ingenuity” or “progressive”? I ask you, what need have they of such…alien anathema? Not Nocturnal Witch, not when all you really need is a good riff, tight execution, a belly full of fire and lungs to fucking roar. Whilst it may not offer anything beyond it’s crude desire to blast all Christendom into oblivion, A Thousand Pyres is still an enjoyable romp nonetheless. 7/10
Gutlocker: Cry Havoc! (Self Released) [Paul H]
Although this EP was released way a year ago in April 2018, the Woking sambuca bastards recent set at the BMF 666 Easter Massacre prompted me to search this out and give it a review. Gutlocker play mean and dirty heavy sludge mixed with thrash, groove and doom metal. Formed in 2012, the band are led by Craig McBrearty whose snarling vocals on this are unworldly, evil and blood curdling. How his throat remains intact is beyond me. The filthy groove of third track Stuck, with its staccato time changes provides a crazed contrast to the blistering opening duo of Bitter Memory and No Burden.
If its weighty riffage you want then get a dose of Welcome To Fucktown, which contains one of the most brutal riffs this side of Lamb Of God. Peter Tucker’s controlled but violent guitar work duels with McBrearty’s insane vocals, whilst Ben Rollinson and Dean Walker hold down the engine room. With new material due soon, Gutlocker are a band that can cut it live and in the studio. 8/10