Darren Michael Boyd – ‘Last Seen In Canada’

Introducing Darren Michael Boyd’s 3rd solo album, ‘Last Seen In Canada’, released in October 2021.

Beginning his solo career with the debut album, ‘Lifting The Curse’, as therapy for the after trauma from a serious car accident, the 9 track debut only featured one other contributor; Emily Dolan Davies, on drums.

Darren’s musical background includes touring and recording with various well-known acts, including Black Ju-Ju, Creeping Beauty and Famous Underground. Other highlights are the many invites to compose tracks for Beasto Blanco, featuring Alice Cooper’s bassist, Chuck Garric and daughter, Calico and to audition for Platinum winning artist, Fefe Dobson. He also won a scholarship to Toronto’s Guitar Workshop Class, instructed by the likes of Paul Gilbert, Billy Sheehan, Sue Foley and played alongside bands such as One-Eyed Doll, Wednesday 13, Yngwie Malmsteen, Stryper, Beasto Blanco and Lee Aaron.

With such accolades to his name as Best Local Musician, 2020, best guitar teacher in Ottawa Valley/North Grenville Readers Choice Awards, a nomination for Rock Artist Of The Year, by the Josie Music Awards and reaching number 57 on the World Indie Music Charts, as well as featuring on guitar, in the Mississippi Mudds Theatre Group, in a 2019 sold out run of We Will Rock You, which won the Ottawa Faces magazine award, that year, for Favourite Theatre Group, DMB has well and truly cemented his reputation in the industry, as a high-class guitarist.

‘Wonders Of The Invisible World’, his 2nd album and 5 DIY videos launched in 2020. 3 of those videos were nominated for Independent Film Festival Awards and ‘Arachnochakra’ won Best North American Music Video, in the Toronto Alternative Film Festival.

June 2021 saw a new single, entitled ‘Spider Jewel’ and he’s now produced a new Famous Underground track, ‘In My Reflection’ and a music video for ‘Like An Animal’.

There Goes The World – Automatic impact! Lots of groove to that intro. Classic rock refrain, with a modern twist and a hint of underlying moody melancholia, but mainly a strong, upbeat melody. Quite Queen-esque riffage. Great sound values and flawless production. Drums heavy, till the end.

Spider Jewel – A little darker in shade. Delving deeper into the abyss, with powerfully contrasting jazzy tones. Audible string bending, very fluid velvet riffs. Again, it moves between light and dark. Subtle keys behind it, fading smoothly.

Melting Beneath The Moon – A strong mystique opens, onto a mid-paced rhythm, powerfully delivered. Once more, it’s similarly polished and toned. A deeper segment adds further enigma. Tight sound, clearly performed, with a lot of palpable steel string bass input. Defined point to the ending.

Premature Ectoplasm – Changing lanes, to a faster rhythm, now and the mood climbs up. Another cohesive sound, with a strong blues undertone and some gorgeously intricate riffage, matching the pace, with the drumming. Carrying on with that cool groove, till the end.

Last Seen In Canada – Heavier sound altogether, here. Very much a solid emphasis. Good strong drum beats, again. A darker element, once more, but just a bit more ingrained. Very Vai-esque, but heavier. Well sustained rhythms.

Amphibian Rhapsody – A poppy vibe enters, now. Not sure about this sound. It’s a little bit disco dance for me, but still featuring some of those Vai-esque frills, so there’s hope yet. A more basic structure to the melodies. Still tight.

Library Of Lost Melodies – That’s better! Heavier emphasis, again. Still moving in between light and shade and you can’t fault the riffs or the timing. Drums beating out an ever heavier rhythm and groove, plus some vague, inexplicable electronica. Moving into synth sections, while sustaining that upbeat momentum to the melody.

Solitary Witch – A gothic, sinister atmosphere intro’s. Very dark and creepy, but just as sophisticated. That riff solo freaks you right out, with its spookiness. Powerful supporting drums. Some very tasteful slide guitar and a hint of mystery ending.

1692-1962 – Speed riffs open, with a strong virtuoso vibe. Playing with the pacing and melodies, bringing in keys and various moods. Brilliant siren riff tones and electrifying speed and style. Drums sustaining the pace, impressively. Suddenly alternating the mood and structure, completely, to a jazzier style.

End Credits – An exciting riff sound plays out an action sequence, well supported by the drums, once more, alternating the melodies, now adding a slice of Eastern enigma. Tribal drum beats bring the finale.

Overall – A vastly impressive and colourful album, professionally produced and performed, ‘LSIC’ features some of the slickest, sleekest riffage you’ll find and a powerful command of rhythm, groove and melody. It flows so well, throughout and though there are shades of darkness, the lighter sections compensate. An energised, high octane production.

9/10 *********

For fans of Steve Vai, Joe Satriani, Yngwie Malmsteen, Lawrence Wallace, Intense.

Self composed, recorded and produced.

Mastered by Harry Hess, at H-bomb Mastering. (Barenaked Ladies, Danko Jones).

Cover – Rik Roe/Rtists Photography.

‘Creature Darren’ – T-Bone Designs.





Posted January 16, 2022 by jennytate in Uncategorized

Tony Martin – ‘As The World Burns’

Ex Black Sabbath vocalist Tony Martin today released his solo album, ‘Thorns’, along with the associated lyric video, ‘As The World Burns’.

Available to pre-order, distributed in North and South America, by Dark Star Records. The rest of the world, via Battlegods Productions.

Featuring several other famous industry names, including Danny Needham (Venom), Magnus Rosen (Hammerfall), Scott McClellan (co-writer) and Greg Smith (Alice Cooper, Rainbow, Blue Oyster Cult, etc), ‘ATWB’ is Tony’s most characteristic signature style yet. Mixing up modern song structures, with classic, old school arrangements, echoing Tony Iommi’s trademarks, the album’s mostly guitar-based, bringing Scott’s riffs to the fore.

With ‘ATWB’, Tony’s created a versatile, driven sound, both challenging perceptions and throwing out catchy hooks.

This album’s a big achievement, with COVID still very much in the global picture, revealing the band’s determination to deliver.

Aside from Tony’s solo 2005 album, ‘Scream’, fans’ll be aware of his tenure as Black Sabbath singer and the renowned albums on which, he featured, i.e. ‘Eternal Idol’ and ‘Headless Cross’.

As The World Burns – Thunderous drums intro, onto lightning fast speed riffs and those instantly familiar vocals kick in. Very traditional, Martin-esque styles and structures still carry that same passion and verve. Great siren riff screams, equally fab, fitting bass lines. Moving down, to a low-slung tone, before speeding back up again, with even louder, more propulsive drumming, as Tony’s immense vocals fade it out. With strong ‘Cross Of Thorns’ echoes, as expected, ‘ATWB’ is a hugely powerful track, with heightened energy screaming through it. Tony certainly hasn’t lost his touch.

10/10 **********

For fans of Tony Martin era Black Sabbath, DIO, Black Tide, Queen, Bad Company.

Pre-order link for North and South America:


Pre-order, rest of the world:





Michael Brandvold Marketing

Posted January 14, 2022 by jennytate in Uncategorized

Conquest – ‘New Drummer Announcement’

Modern metal band Conquest have announced new drummer Lee Skyles.

The Chicago-based band welcomed Lee into the fold, following Tim Fleetwood’s departure, for personal reasons.

Renown in St Louis’ music scene, Lee is a long time presence in the industry.

A new Conquest album is scheduled for next year. The band look forward to Lee’s drumming input featuring.

The quartet that is Conquest is composed of Derrik Brumley, Mike Crook, Rob Boyer and now Lee Skyles.

Represented by Michael Brandvold Marketing and Management.


Posted January 13, 2022 by jennytate in Uncategorized

The Swaggerlies – ‘The Last Of The One And Onlys’

Sporting a classic old school punk ‘n’ roll sound, The Swaggerlies present their debut album, ‘The Last Of The One And Onlys’.

They were founded in 2018 and their debut single was the seasonal, ‘All I Want For Christmas (Is To Be Left Alone)’.

Commencing a brief January 2020 tour, around Portland, Reno and San Francisco, just as they were establishing themselves on the live scene, COVID 19 swept in and put everything on hold.

That summer, founder, guitarist and friend Rontrose tragically died. After a period of mourning, the guys decided to follow his wishes, by continuing on and producing the album, in tribute to his memory. Eventually, ‘Captain’ Ron Stohr (Jilly Rizzo, Swedish Legal System) filled that hole, as guitarist and with Jack Endino’s mastering input, ‘TLOTOAO’ came to fruition.

Pretty Good At Being Bad – Introing with a bit of crackling, leading into a bluesy riff refrain. Vocals just as bluesy. Great, well timed drum roll rhythms. The punk sound hits at the halfway mark, without losing any of that vital blues rock essence. As much as the audio values could do with lifting, just a tad, it’s a great, fun melody, with lots of catchy hooks and contagious enthusiasm.

Disco Cocaine – Good plucky intro! Straight in, with all the swagger). Here, the vocals are a little weaker and less impassioned, but that upbeat melody keeps it going. This time, it moves into alt rock territory, in places. It still rolls, though. As is so often the case, it’s the riffs that sustain that central momentum.

Mannequin Bones – Groove-laden intro. Again, straight into the pace. A traditionally based rock ‘n’ roll number, from the start. This has got an early blues feel to it, whilst still keeping it up-to-date. Quite a smooth flow, all the way. Good definitive end.

One And Onlys – Smooth intro, taking it down to a mid-pace. Instantly emotive lyrics, equalled by the tone. An early influence sings through this sound. A basic style, working well and almost touching on country sounds. A bit repetitive and perhaps, something of an acquired sound, but capably done. Likely to appeal to fans of the early rock ‘n’ roll formats.

Drunk In London – Jivier number now. Right into a carnival rock style refrain. Well placed, as a more uplifting track. Rhythm very much central. A little basic, again, but it’s listenable enough. No qualms with the musicality at all. Just coming across a bit like fairground rock.

March Of The Swaggerlies – Kick drum intro. A very decent slide bass entering there, changing the whole vibe, to one of sultry lounge rock, with moody essence). This is better, though sounds markedly similar to Pink Floyd’s arrangements. Soon changing gear, to a more Cream/Clapton-esque structure. So this one’s sounding very medley-esque. No bad thing, necessarily, but would just be improved with a little more individuality stamped on it.

NFIOS – Space rock/electronic intro now, taken over, by a melodic groove. Getting straight into the feel of the mood. Here, the higher vibe hits home, well matched by the faster pace. Spacey aspects creating the impression of surf rock, here and there. Slowing it down, more prominent drumming, towards the well configured end.

Outrage – A classic, traditional early rock ‘n’ roll opening there. Good fast-pace, nailing the momentum of the moment. It just flies along. Some decent riffage going on. Again, unarguably proficient and a very old school sound. Just lacking in originality.

Letter To A Friend – Gentle acoustic intro. Equally softened vocals and a fragile melody creates a feeling of beautiful nostalgia. This is the track that’ll hit that place of deep empathy, so hard to explain. A potential tear-jerker, for sure. It’s in this place that a band’s true basis and inspiration often transpires.

Overall – A straightforward early blues rock ‘n’ roll emphasis breathes through this production. In many ways, it’s an acquired, but capably crafted album. The punk element, however, is largely absent. It’s mostly a bluesy r’n’r creation, so that missing punk element needs discovering. Generally, it’s quite heavily derivative, so needs an original spark adding to it, aswell. Of course, the finale, ‘LTAF’ is likely to create the biggest connection and that’s a beautiful end, revealing another dimension. All in all, a middle-of-the-road album, with a sincere memorial, closing.

6/10 ******

For fans of Not Ned, Camp Marshy, Cream, The Yardbirds, Derek And The Dominoes, The Beach Boys, Elvis, The Smiths, Pink Floyd.


Posted January 12, 2022 by jennytate in Uncategorized

Urferd – ‘Resan’

Due for release 15th April, ‘Resan’ is the new album from Sweden’s Urferd.

Brainchild of Daniel Beckman (Twilight Force, Ages), Urferd is a pagan folk metal creation, with a darkened focus.

The debut 8 track, ‘Resan’ is a journey, of sorts, through the shaded mystique and comfort of nature, within Nordic forest backdrops.

Gryning – A gradual opening paints an aural landscape of a natural backdrop, with bird sound in the background. Ambient and fantasy-esque, all at once. Tribal drum beats lead into a bigger sound, still fading, intermittently into the background, as the birdsong continues. A brief, quiescent intro.

Avfard – Mediaeval sounds intro, with ominous tones, gradually building. A stronger rhythm plays out here. A Celtic string section adds to the mystical atmosphere. It’s a beautifully performed track, just holding back enough to enhance the mystery, deepening the low vocal baritone. Much more instrumental than vocal, with a constant slow rhythm. A lot of imaginative material here, featuring a sense of controlled drama. So much visual imagery entwined within it. Enthralling, in its own way. Very much focused on powerful atmospherics.

Strovtag – A lighter, but still atmospheric intro. The rhythm retains a hypnotic element. Another thoughtful blend of accompaniments, adding further to the mysterious aura. It’s moody and contemplative, creating an impressive balance between light and shade, with a sense of approaching darkness in the wings. Ending on distant sea gull cries.

Hymn – A louder drum beat opens, now with mournful choirs, softly crooning, as the tension builds. Lots of dramatic impact. Something almost reverential about this sound. Well timed rhythms and again, very visually evocative. Ending on low vocals, similar to the tolling of a funeral bell.

Envig – Powerful drum hits intro, as tribal warrior sounds. Moving into a mid-paced rhythmic rumble, intoning approaching threat. The string section brings the light. Again, building that sense of gathering momentum. Now into a folky refrain, as of reels and jigs, being danced, in a forest clearing, amidst an ever-growing battle warning. Interweaving Celtic mysticism and mediaeval folk, sublimely. Closing on a soprano recorder tone.

Vaka – A deep, basic woodwind instrumental intro’s, as light and heavy percussion beat out a threatening rhythm, joined by other accompaniments and a wintry atmosphere, as the deep vocals quietly add a pointed tone to the warning sounds. Olde-worlde melodies craft an impression of myth, legend and ritual celebrations. Continuing with the relentless drum beats, right to the end.

Hemfard – Opening on a bass tone of a didgeridoo sound, amongst the continuing forest backdrop, with that same sense of lingering menace, entrenched within the tribal drums. Yet once more, the light shines in, through the softening atmospherics, now with a Native American vocal added to the ritualistic themes. Here, the rhythm remains unchanged.

Dvala – Here, a male/female vocal combo intro’s, with a mediaeval melody, fittingly accompanied by the string section. It’s a very emotional sound, with a mournful tone, throughout, but still, there are glimpses of light. Gently, yet insistently conveyed. There’s a strong narrative thread to it, along with an equally strong sense of stories passed down, through generations. Fading out on just the female voice, echoing, into the background.

Overall – ‘Resan’ is a powerfully convincing and deeply haunting portrayal of ancient ways and rituals, perfectly performed, with sincere conviction and enigmatic mystery. Whilst not exactly the most uplifting production, it’s real and it’s evocatively delivered, with impressive precision and clear perfectionism. Its essence lingers, like a vivid dream.

9/10 *********

For fans of Carved In Stone, Liholesie, Heather Wastelands, Hand Of Kalliach, Gaia Epicus, Emerald Shine, Feskarn, WYKAN, Knifesex, Aythis, Autumn Tears.



https://orcd.co/resan (pre-order link)




Posted January 10, 2022 by jennytate in Uncategorized

Sullen Guest – ‘Phase Tasters’

Welcome to the teaser tracks, ‘Voice Of The Subconscious’ and ‘Assent’, from the forthcoming album, ‘Phase’, 4th album release by Lithuanian death/doom band, Sullen Guest.

Aptly titled, ‘Phase’ represents the stages within the cycle of grief and bereavement, also symbolising other associated emotional losses. The band members chosen names portray those same emotions.

A couple of line-up changes have followed the most recent 2021 release. Building on that last album, ‘Phase’ is infused with greater vocal feeling and laced with even more bass groove. Some of the tracks featured are instrumentals, with extra depth and gravitas. Those tracks are exclusively CD format. The intro to featured track, ‘Come With Me’ is already out, on YouTube.

‘Phase’ will be launched, in its entirety, later this year.

Voice Of The Subconscious – Very bleak, death vocals intro. Slow-paced accompaniments, with grief, sadness and melancholia laced right through them. An exercise in desolation. The male vocals are joined by lighter, feminine vocals, just before they hit that raw tone. Very trollish, honey monster vocals, perform impenetrable lyrics. A palpable drop in mood and tone, through which, the lowering of key and feel’s almost visual. Just a deeply blackened sound. Quite repetitive and while it does as claimed, it’s not a sound likely to appeal to many, unless in the throes of grief, themselves. In itself, it’s a good performance, in technical terms, showcasing more than adequate skill. Just thoroughly depressing, but it may help some to relate and get through similar phases. There’s melody, but it’s all very downbeat, which although intended, just doesn’t encourage further listens.

Assent – Explosive intro, this time, with a clearer Blaze Bayley-esque metallic thread, audible, through the solemnity. Now the metal emphasis builds, climbing higher, within the darkness. Here’s where the guitars sing, especially from 1/4 in. Still very dark vocals, but some light’s visible, to some extent, at least. The pace increases, in places, as the melody remains. Pained screams precede softer, feminine vocals, briefly, before both yield to the music. Symbolically, it’s a good representation of the struggles inherent in grief and this track at least offers hope of better times to come.

Overall – There’s no question that both ‘VOTS’ and ‘Assent’ convey a lot of musical and technical proficiency and real sincerity. However, the general bleakness and despair inherent in ‘VOTS’, at least, wouldn’t incentivise me to re-listen. ‘Assent’ provides a clearer glimpse into the possibility of hope, on the horizon and on that level, it’s a more melodically tolerable sound. A prospect helped by its uncannily ‘While You Were Gone’-esque riff section, likely to catch the attention of fellow Blaze fans. Ultimately, may be worth listening to the album in full, but as dexterous as it is, I’m happy to pass this one by.

7/10 *******

For fans of Bellhead, Latitudes, MANES, Immortal Empire, Def-Con-One, Goliath, Blaze Bayley’s ‘The Man Who Would Not Die’ era.





Posted January 9, 2022 by jennytate in Uncategorized

KRAKEL – ‘Frau Blucher’ And ‘Endless Night’

Launched November 2021, ‘Frau Blucher and Endless Night’, the new singles, from KRAKEL, follow on from the last offering, ‘Ctrl, Alt + Del’.

The first, ‘FB’, originates from their muse, the Young Frankenstein film. Created out of the intro synth pattern, cover art featuring Marty Feldman, as Igor, illustrated by Asa.

‘EN’ takes lyrical inspiration from the current seemingly endless shootings and the ensuing terror triggered by them. Featured are 3 languages, including a Swedish police radio.

Frau Blucher – Brief, but energetic intro, featuring a snappy voice-over, rapidly followed by a powerful blast of metal. Powering down, to a sonic sound, with electronic essence, heavy on the synths. Alien-esque vocals, strong movie soundtrack-esque accompaniments. Drama, choirs, epic theatricality, it packs a lot into its length, ending rapidly, on a quick helicopter rotor blade sound, as the power dies down.

Endless Night – Background sirens, riots and general chaos opens, featuring a notably Bond-esque feminine vocal, with a lot of strength behind it. More melodic basis here, well controlled rhythm, sustaining strong beats and a stack of atmosphere. Again, it’s very powerful and easily visually evocative. Very decent production values, a tasteful riff section, speeding up, gradually. Building to a highly impressive well sustained, closing riff screech and sharp, tangy vocals. A very accessible track.

Overall – Undoubtedly, their best work yet, these tracks demonstrate a big step forward for KRAKEL, both in stylistic and structural terms. Melodically sound, strong performances, impressive delivery and a brand-new intriguing direction, both tracks pack a real punch, showcasing KRAKEL at their true higher potential. Hopefully, more of the same will soon follow.

10/10 **********

For fans of Bond movie soundtracks, Vicious Nature, Eartha Kitt, Shirley Bassey The Wring, Chaos Over Cosmos, War Of The Worlds.





Posted January 8, 2022 by jennytate in Uncategorized

Space Coke – ‘Lunacy’

Released 14th January 2022, on Forbidden Place Records, ‘Lunacy’ is the latest offering from Colombian psych metal band, Space Coke.

Trippy, trance-like experiences play out, in a spacey form, intended as both escapism from the world and a commentary on current society and the divisiveness within it.

The band name reflects the perspective of life offered by an aural version of SC.

Taking inspiration from front man Reno Gooch’s early musical explorations, into the sounds of Indian classical music, Sun Ra, Sonic Youth, Anthony Braxton, Black Sabbath, Hendrix and Mothers Of Invention, ‘Lunacy’ is a deeper progression from past material.

Founded 2009, SC retains heaviness, within ambience, also taking influence from a scene in Cheech and Chong’s movie.

Enter the mysterious world of SC.

Bride Of Satan – Very crusty intro, bringing the grind core emphasis forward, amongst the Sabbath and Purple-esque bass notes and keys. Vocals fading into the background, as the drums come forward. Quite a muffled sound, with gothic hints and a creeping cloak of darkness. There’s certainly adequate rhythm, bound up in the sludgy sound. A lot of doom essence. It’s just a slow, profound sound, utilising the fuzz box well, along with those contrasting low and high end riffs. More clicky drumstick stuff, 3/4 in and gradually building vocal buzz. A very shadowy track, with definite enigma. Fading on a wobble and screech combo.

Alice Lilitu – Sinister spoken word opening, surrounded by palpable bounce. Lots of visual imagery of vague religious initiation, before the wobble phenomenon takes on a melodic form, buzzing the mood up. Chattering background voices form a cacophony, amongst the keyboard and riff melodies. It’s actually a very artistic form, incorporating many different strands, which however mysterious, are nonetheless, well-balanced. A little more cymbal emphasis here and drums sustaining the rhythm. Some screechier riff patterns, from the mid-section, solidifying the pace. Versatile enough to belong in the ‘Tubular Bells’ camp and creatively inspired. There’s potential here for many a disaster, but instead, the careful, artistic delivery ensures otherwise. Yes, it’s an acquired sound, but nevertheless, an intriguing listen. A slight Portishead-esque atmosphere, as it fades out, on riff screech, echoing the ‘Dummy’ era.

Frozen World – Instant curiosity’s piqued, as fantasy suggestion morphs into more bluesy, Purple-esque sounds. A more rhythmic number here, with clearer drum prominence, taking over the background vocals. Lots more keyboard accompaniment. It’s definitely more upbeat, with a little more synth-based sound. Very decent drum rolls, blending with the melodies, ending on the same.

Lightmare – Spooky, Bjork-esque spoken word intro, describing a deeply disturbing experience in a secure mental health institution. Very dark stuff, indeed. Gradually, yielding, to lighter instrumentals. Eventually, trollish vocals add to the newly introed male vocals, contrasting with the affecting feminine ones, so powerfully recounting the experience described. Moving on, into a looser accompaniment. Spacey, muffled vocals enter, behind the rest. Again, that Purple-esque keyboard sound returns. Ending abruptly, but skilfully.

Twist Of Cain – Shrill voices intro, amidst a confusingly random backdrop. From there, straight into a blues refrain. Once more, sustaining that muffled fuzz emphasis. Still melodic enough to easily pass muster, throwing in some casual sleaze tones. Stylistically, well crafted, able to flow in and out of contrasting sounds and techniques. Funeral bells re-intro the doom element, while distant sound effects bring it to an end.

Overall – A pleasantly surprising production, ‘Lunacy’ showcases the rare ability to flit between forms, while balancing various aspects, equally and delivering a complex and convoluted sound, with refined skill and technical dexterity. Neither one thing, nor another, entirely, its abiding style is still clear enough to identify and the fluid execution, intriguingly versatile. Outlying, on the borders between genres and sub- genres, ‘Lunacy’ takes you on a transformative journey.

7/10 *******

For fans of Deep Purple, Black Sabbath, Arapacis, Portishead, IDDQD, Dark Ocean Society, Dark Years From Now, Mike Oldfield, Pink Floyd, Knifesex, Siren’s Rain, Gravehuffer, Candlemass, Kyuss, QOTSA, Bludy Gyres, Dayglo Mourning, XII Boar, Tommy Stewart’s Dyerwulf, Purson, Fleshpress, Flesh Eating Foundation.

Social media links unavailable.

Posted January 7, 2022 by jennytate in Uncategorized

Siren’s Rain – ‘Keepers’

‘Keepers’ is the new lyric video, from America’s folk metallers, Siren’s Rain, following on from their latest album, ‘Rise Forth’. Now premiering, at Terra Relicta and Next Mosh.

Showcasing powerfully heavy distortion, blended with intricate melodic harmonies, ‘RF’ provides a stunning aural landscape, surrounding the artful folk sounds, reflecting light and dark, in equal measure.

Keepers – Opening with birdsong, followed by gentle, yet powerful chords and surprisingly blackened vocals, within the beautiful forestry backdrop. Soon bursting forth, into gorgeous folk melodies, very resonant of Scars Of Sense, with Native American aspects. Intriguing, light and strong, with catchy hooks featured, throughout. Very intricate accompaniments, twangy sounds included. Even a slight cultural anthem suggestion within it. A great blend of stark melody and imagery. The much higher ratio of instrumentals to lyrics provides the opportunity to explore the soundscape more thoroughly. A great showcase of the breadth of sound possibilities within metal, applied to folk. The meaningful lyrics add to that effect. A very refreshing experience. Ending on a tight drum roll and the sound of gently rushing water.

8/10 ********

For fans of Scars Of Sense, Wax Mekanix, Troll Teeth, Gravehuffer’s ‘Ghost Dance’, Falagar, Nidhoeggr, Turisas, Tyr, WYKAN.





Posted January 6, 2022 by jennytate in Uncategorized

Dig Lazarus/Ally Dickaty (The Virginmarys)/SKAM – ‘Time Froze’

Announcing new music video, ‘Time Froze’, by Dig Lazarus, featuring Ally Dickaty, from The Virginmarys, following DL’s album launch show, in December 2021, featuring special guests SKAM and an acoustic set performed by Ally.

Their debut album, ‘Don’t Threaten Me With A Good Time’, is available now, through RPM Records. Produced by Dave Draper (The Wildhearts and Terrorvision).

Time Froze – Very bluesy, funky, Clutch-esque intro. Building it up, into a clear stoner sound, with a lot of strength behind it. Well measured drum rolls. Good confident guitar technique. Great steady flow to the track. Growing stronger, with each moment, there’s a comfortable ease to this collective performance. It just slides along, on a loose vibe, till the smoothly executed fade-out. Impressively atmospherically evocative of smoky lounge bars and drifting moods. Quite a catchy hook to it and definitely worth a spin. One to drift off with, in a blues-soaked haze.

8/10 ********

For fans of Clutch, Down, Corrosion Of Conformity, Damn Yankees, A.I.C., Soundgarden, Kyuss, Electric Wizard.





Posted January 4, 2022 by jennytate in Uncategorized