PNUK – ‘After Death’   Leave a comment

Created from members of Siskan’ Broza, Descendientes Kaoticos and Brutal Anal Blast, PNUK was born in 2014. A Spanish thrash/crossover band, the lyrics were initially sung in their native tongue. Their debut album, ‘Fin de la Civilizacion’, arrived in late 2016.

The first line-up addition followed, in the form of 2nd guitarist, Alex, known from previous bands. More live experience continued, while new music was created.

A self-titled album came to the fore in the latter half of 2017, released a year later. This album showcased the band’s progression, featuring greater intricacy and track lengths, without losing the essential PNUK signature.

2019 brought some line-up changes, from which point, the tracks were then performed in English.

That same year and into 2020, the 3rd album, ‘After Death’, came to light, halted, for a time, due to COVID and other natural disasters. At present, PNUK are still going strong, with more live appearances hoped for, soon.

After Death – Straight in there, with a well controlled, but banging riff and drum intro, featuring a lot of melodic flavour. Heating it up, to a thrashy pace, complemented by audibly passionate vocals. Good strong rhythms, plenty of atmosphere and a decent smattering of bass. Strategically timed cymbal hits lead into a catchy groove, played out through looser, more laid-back riffs. Slight flat notes, briefly, picking it back up again, quickly. Retaining that groove, throughout. Great track length, leaving plenty of time to savour it. Increasingly impassioned vocals, growing ever more so, towards the smoothly delivered ending fade-out.

Altered Beast – Instamatic drum hits open. Very decent riff descent. A breathy track, leaving more space between the powered segments. A tighter sound, in places, with strong vocal expression. More of a collective vocal effort. Throwing in some fun riff solos, playing around with siren-esque screams. Again, a lot of audible passion, ending with clear-cut definition.

The Evil Within – Harder edged drum intro, with an underlying riff heaviness, cemented by the bass. Shoutier than sung lyrics, but just as much rawness. Good riff and vocal interaction. A more visceral sound, completed by those echoic backing vocals, just prior to the mid-section. Incorporating some more intent percussion. Ending quite dramatically.

Fair Warning – Clear, confident drum opening, yielding to a low, down-tuned riff, introing a tasty vibrato section. Drum rolls leading to a faster, thrashier pace. Similarly expressed vocals. It’s very emotive, utilising that well. Fresh, airy sound to the atmosphere, still maintaining the heavy edge. Riffage growing more melodic, 3/4 in. Building the tension, from there, including another brief vibrato section, with a delicious riff scream. Intensifying the physicality of the rhythm, towards the end.

Brother Against Brother – Beautifully sensual opening riff groove. Sending it in another direction, assisted well by those interacting steel strings. You really feel this one. Really making those riffs sing, with sumptuous sensuality. Possibly, the vocals are a little off-kilter, for these tones, but the emotion remains. Speeding things up, with a bongo segment, adding jungle vibes, moving it into another arena, completed by the unhesitant closing shout.

Never Cross The Line – Right in, with an unmistakable groove. That’s a heavier feel, from the word go. Everything lined up in perfect sync. That clear alignment characterises their whole sound. Speed riffs follow, playing a building melody, before taking it up, to thrashier territory. Ecstatic shouts follow. Absolute rhythmic perfection, moving in such neatly aligned timing, portraying a tightly bound connection. Faultless.

The Clash Of The Titans – Bongo drums intro, onto heavier beats and a screaming riff, followed by invigorated shouts. Once again, it’s a great team effort. Very visually evocative. Almost ritualistic, with mesmeric hints. A great deal of atmospheric power in here. Building the tension and drum volume, bridging it, with a doom-soaked riff. Very much a collective impact here, inserting a touch more vibrato, before taking it down, to a lower tone. Still, that group sense of battle lines drawn, remains. Such effective audio-visual portrayal.

Blackout – Gorgeously sinister intro riff, sleekly and silkily played). A real hint of rich velvet darkness there. Speed drumming and riffage follows. Again, those invigorating vocals, shouting their message. Slight hints of doom, here and there. A very strong foundation shows itself. Picking up the pace, once more, then intermingling it with slanted tones and omen injected into the edges. A mass of cacophonous sounds enters, before returning to the deliciously dark intro tones, in closing.

Snake Eyes – Energised drumming opens. Powerful groove follows. A looser strand to this, but with no less feeling. An ease of flow takes hold now. Still carefully controlled rhythmic timing, though. As relaxed as this is, the passion certainly hasn’t left, especially at the point of that glorious screaming tremolo, at the mid-section. Taking it back down to a lower toned groove, from there and ending on a collective shout.

Running To Nowhere – Bang! No hesitation to that intro). Another fast-paced number, with a marginally neoclassical riff structure, before returning to the speed thrash arrangements. Matching that rhythm well, with the drumming and keeping the momentum going. Quite Municipal Waste-esque, at that point, with hints of D.R.I. Slowing it down, whilst upping the tension and volume, till the end.

Overall – An impressively and consistently sleek performance, throughout, ‘After Death’ is a flawlessly delivered album, skilfully approached and energetically executed, with more than enough quirky attention holding features to make it a well worthwhile listen.

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

For fans of Municipal Waste, D.R.I., Judas Priest.

Posted April 16, 2021 by jennytate in Uncategorized

Scorcher – ‘Radio Silence’   Leave a comment

Brainchild of Vangelis Tekas, Scorcher appeared on the scene in 2010, in Serres, Greece. Their 6 track demo, ‘TEX’ landed in 2011. The debut album, ‘Armageddon From The Sky’, came the following year, on Steel Gallery Records. A single, ‘Harbinger Of Death’, hit in 2014 and was featured on their 2015 album, ‘Steal The Throne’.

2018 saw several line-up changes and a 3rd album, ‘Systems Of Time’.

A live performance, supporting RIOT V took place in 2019, at 8Ball Club, Thessaloniki, Greece. A new single, ‘Radio Silence’, soon followed, on 7 ” vinyl and digitally, also entitled ‘(No Need To Know) The Future’. Co-produced by Scorcher and Dimitris Douvras, at Lunatech Studios and recorded at Pitt Studio, in late 2020. It’s available online.

(No Need To Know) The Future – Crackling intro, fiery hot stuff. Great classic speed riffs entwine with rhythmic cinematic vocals, delivered with a lyrical narrative. Riffs screaming through the air, battering drums and tight melodies, stacked with conviction. Building slight tension, in places, employing a few light shimmering cymbals. Good momentum. Very NWOBHM, with a traditional slant. Decent power behind the vocals. Impressive job.

Radio Silence – Opening with fun speed riffs and straight into a well structured melody. The upbeat mood’s audible. Again, it’s very new wave, without losing the old school flavour. Well sustained rhythms and a strong power strand detectable throughout. More riff wizardry going on here, with lighter arrangements. It may be derivative, but that doesn’t detract from its satisfying sound.

Overall – A typically NWOBHM sound, with obvious old school metal affiliations, ‘Radio Silence’ is an unsurprisingly uplifting listen, with a lot of genre-specific touches and a strong emphasis on melody and speed. Nothing noticeably unique about it, but it still delivers with high expression and flawless production.

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

For Fans of Iron Maiden, Fires Of Babylon, Firewind, Mind Control, Monument, Powerquest, Judas Priest.

Scorcher is:

Chris Tekas – Bass
George Chapkinis – Guitars
Vangelis Tekas – Vocals/Guitars

Posted April 15, 2021 by jennytate in Uncategorized

Dark – ‘Inside The Void’   Leave a comment

Step into the inner realms of Swedish rock 4 piece, Dark. Composed of the ashes of bands Mary Major and Beseech, their style is intentionally as dark as their name, featuring strongly emotive undercurrents. Co-produced with Dark and Mattias Asplund, in Dark’s studio, the 4 track EP, ‘Inside The Void’, was mastered by Nekkomix and is due for release on 30th April. It follows their debut 2015 self titled album, ‘Dark’.

Finally Home – Unexpectedly vibrant drum intro, closely followed by upbeat riffs. Very markedly dark, Cave-esque vocals catch them up, though, revealing, instantly, the source of darkness. It’s very melodic, but also very gothic, with a lot of vocal depth, again, reflective of The Bad Seeds. Powerfully impacting, even through that level of darkness. Direct, unmistakably assured and definitive, in its ending.

One Of Us – Bleak piano intro, injecting a real macabre morbidity, yet also quite new wave, melodically. Those notably deep vocals add another dimension, through the whispers, supported by the echoed backing vocals. Clear differences in the tones of this track, adding a stronger lyrical narrative. Moving down, to even deeper tones, with cold chills coming through the keys. Teasing it into quiescence, before lifting it back up to powerful darkness and gradually, back into a reverb ending, with the same singular keys providing sharp physicality.

Die Together – Huge echoic drum hit opening, quickly followed by dense riffage and bass undertones, matching the seriously dark, funereal vocals. Taking it up, into slightly higher riff tones, from the mid-section, adding some complementary rhythmic applause. Vocals matching the pace, then fading out, with shimmering cymbals and riff reverb.

Memories – Fresh, uplifting vibes intro, via the drum and riff sounds and heightened pitch and pace. Still as vocally bleak, yet exciting, palpable through that real and exhilarating performance. A genuinely unusual depth and darkness to the vocals, marking them out, amongst most. Playing with melodic alternations, but keeping the mood higher, with this track. Short, clear-cut definition to the close.

Overall – ‘Into The Void’ pulls you in, immediately, with the sheer darkness and unusual depth of those vocals. Sleekly delivered, throughout, retaining the clear gothic vibes, chiming through every track, it’s a very noticeably different production to most in the genre. The consistently sustained impact, combined with the strikingly powerful level of vocal darkness create a strongly memorable impression. A markedly individual sound, likely to echo through your brain, for some time to come.

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

For fans of Nick Cave And The Bad Seeds, Toxic Tito, Vampyre Heart, Glitzy Glow, The 69 Eyes, Mattsson, Immortal Empire.

Posted April 13, 2021 by jennytate in Uncategorized

Korseld – ‘Dodens Dal’   Leave a comment

Swedish death/doom band Korseld arose from an amalgamation of members of Dark Legacy and Blutfeld, Daniel Reese and Daniel Tjernberg. Their debut album, ‘Jordevardring’, was released through Dikotomi Production. American Revenger Records later launched their 2 follow-up singles. Bringing things up to date, ‘Dodens Dal’, the current EP, is a digital self release, out now, combining death and doom, featuring strong atmospherics, performed entirely in Swedish. The 4 track ‘DD’ was mastered by Dan Swano, at Unisound, with cover art by Lars Krantz.

Korseld is: Daniel Tjernberg (vocals/percussion/keyboard), Daniel Reese (guitars/bass), Jens Fredricksson (bass), Jonas Hoffmann (drums).

Hall Fanan Hogt – Instant drum impact! Lightning fast riffs follow, edged with sharpness and well measured percussive rhythms. Death vocals enter next and that fresh sound reverberates throughout. Drum hits get harder, till the sudden fade-out, into a slower, looser, more relaxed vibe. The atmosphere softens, continuing with that gentler, steadier feel, to the end, where the bass becomes the prominent feature. Very effective intro.

Redo For Strid – Heavier opening, combining starker accompaniments with angry death vocals. Toning the physicality down, briefly, becoming a fantasy led landscape. This is definitely film soundtrack territory. A shorter, but well packed track, fading out, smoothly.

Hang Them Hogt – Well compressed drum sound introing. Moving straight into a palpably Viking-esque riff structure. Speeding up, to a slightly Cossack dance-esque pace. Then floating, fluidly, into a more relaxed rhythm. Death growls very Ogreish. Even shorter, but still insistent drum outro, with battle type overtones.

Dodens Dal – Another zesty intro, moving up, to a heightened pitch and breezier mood. Actually, it’s melodically, vaguely reminiscent of Maiden’s ‘Virus’. Taking it into freer, more imaginative soundscapes, now and building the sound up, to a reinforced strength. This is where the melody hits hardest, before it’s suddenly over, in a few quick blasts of riffage.

Overall – A creative and complex, yet light filled production, showing clear, focused direction and melodic energy, breathing through the tracks, ‘DD’ is a pleasing listen, peppered with intrigue and vibrant peaks.

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

For fans of Ice War, Blutfeld, Usurper, Iron Maiden.

Posted April 12, 2021 by jennytate in Uncategorized

Bodoni – ‘Lipstick’   Leave a comment

Ahead of their forthcoming album, ‘Domestic Violence’, released earlier this month, Italian quartet Bodoni launched a new track, ‘Lipstick’, with an associated video.

Inspired by real events, cited in the media, the single revolves around a deeply disturbed mind, observing an innocent act of a partner applying make-up, misinterpreting it as a distorted reality and being driven, via his extreme perceptions, to jealous, murderous rage.

The track is intended to explore the possible triggers of such violent, lethal aggression, investigated in greater depth within the album.

‘DV’ symbolises the band’s growth, both artistically and individually.

Front cover art by Andrea Boldrini and graphic design by Virginia Furini. Production by Federico Viola (Animal House Studio, Ferrara, Italy). Mastering by Andrea De Bernardi (Eleven Mastering Studio, Varese, Italy).

Lipstick – Heavy stoner drum and riff intro, with light cymbal touches and a smoothly delivered electrified slide riff. Very grungy sounds, with red backgrounds fittingly featured. Very A.I.C.-esque vocals, well structured rhythms and rage pouring through the vocals. Significant focus on facial expressions, growing progressively more intense. A lot of what might be termed ‘auto-suggestion’ in the visuals, which luckily, don’t reveal the full lead up to the anticipated scenes, instead, showing an alternative ending. There’s a consistency to the sound, remaining at the darker end of stoner/doom. It’s a decently arranged track, with teasing hints of lighter percussive rattles, hidden amongst the heavier drums, like a symbol of lurking menace. As intense as you might expect, given the thematic content, though always well-controlled. Reaching a receding end, it leaves a lingering suggestion in the air. Certainly atmospherically potent, revealing an upturned curve, for Bodoni, within the change of direction. Dark, brooding and definitely heavier. ‘Lipstick’ has to be their most confident production and performance yet.

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

For fans of A.I.C., Nirvana, Soundgarden, The Stone Roses, Stone Temple Pilots, Faith No More.

Posted April 11, 2021 by jennytate in Uncategorized

The Hellfreaks Announce New Video   Leave a comment

Hungarian punk metallers The Hellfreaks announce a new and final video for their track, ‘Tabby’, from the latest 2020 album, ‘God On The Run’. Self released, in collaboration with Sunny Bastards Records, covering Germany, Switzerland and Austria.

Symbolising the lull of life, currently affecting the world, ‘Tabby’ is a slower track than TH’s fans have grown accustomed to.

Its purpose is to encourage people to exceed the externally imposed boundaries restricting their growth and to follow their own path in life.

Creation and preparation of ‘GOTR’ was done in association with Paul Miner (New Found Glory, Atreyu, Death By Stereo), Evan Rodariche (Escape The Fate, Powerman 5000, Lacey Sturm) and Tom Waltz. (Mixing and mastering).

The forthcoming HF’s album is in production, scheduled for an early 2022 release, via a new label.

Posted April 9, 2021 by jennytate in Uncategorized

Davy Williamson – ‘Cliche’   Leave a comment

Providing a taster of his new 8 track EP, ‘Down By The Fire’, Davy Williamson now presents the single ‘Cliche’, featuring on ‘DBTF’. It was launched on March 12th 2021 and also features the debut single, ‘Thin Disguise’. Following the launch of ‘DBTF’, ‘Cliche’ also reached number 1, in South Africa.

Cliche – Heavy riff intro, with a strong southern rock vibe. Even more memorable for that Priest-esque ‘Revolution’-like intro). Confident vocals, with a gritty edge. A clearly heartfelt performance, from the start. It’s a big sound, melodic enough to straddle different genres. The echo resonates throughout. So much raw passion in those vocals, almost screaming himself hoarse. Equally powerful accompaniments, matching the vocal volume and strength. Brief track, packing a massive punch. That’s a track coming straight from the heart.

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

For fans of Bon Jovi, Lynyrd Skynyrd, Black Stone Cherry, The Black Crowes, Thirteen Stars, Live, Free.

Represented by MTS Management Group.

Posted April 8, 2021 by jennytate in Uncategorized

Timeless Haunt – ‘Dark For Life’   Leave a comment

A potent mixture of melodic and symphonic metal, featuring traditional touches, Timeless Haunt is a quintet of high octane Pennsylvanian musicians, whose musical histories go way back. ‘Haunted Symphony’, their debut production, was well received. They now present the follow up 7 track album, ‘Dark For Life’.

Geisterton – Hauntingly atmospheric intro, centred around natural backdrops, of thunderstorms, in darkened skies and unexplained kettle-like whistles, with morbid death vocals, adding an enhanced edge to the sinister feel. Ending on a crack of thunder.

Embrace The Haunt – Short, spooky riffs and melodies open, with drums matching the beat. It’s a bit X-Files-esque. Clear lyrics feature gritty expressions. Taking its time, to convey its steadily timed message. Growing ever darker and more funereal, spacing out the drum hits, to meet the funeral bells, it’s very dark territory, altogether. Still, the riffs suddenly grow more enlivened, 3/4 in, taking the opportunity to showcase a lighter, still complex side. Lyrics very pointed, from then on. Well-defined ending.

Dark For Life – Singular, down tuned bass intro, with playful drumming. Moving into a shadowy sound and atmosphere, before becoming gentler, with emotive vocals. Faster pace hitting, 1/4 in, taking on a more theatrical sense to the delivery. It’s very well co-ordinated. Fluidly, swimming back into a more melancholic tone, then alternating between moods, always displaying full, honest emotions. Keyboard segments add a little intrigue. Riffs growing lighter, but still as potent. A choral section adds strength and volume. Definitive ending, again.

Sinful Girl – Deep, poignant piano intro. Sweeping emotions move through it, just as they do, in the following riffs, as both melt into each other. Group vocals enter, with every bit as much stark emotion. Impressively pitched and sustained power scream. It’s followed by more dark lyrics, gradually emerging, into the light. Very bestial masculinity in those vocals. Dalek-like lines come next, in a deeply sinister lyrical image. Lighter, sci-fi, spacey keyboard tones follow. The various vocal styles and tones intermingle. Eventually, moving into a lighter instrumental sound, within the still overtly explicit lyrics. Good steady fade-out.

Pain – Opening on a gently played steel string, amidst another natural backdrop. Gentle vocals depict the scene. Duets overlapping, more sharply, co-mingling, with the softer solos. A deep profundity’s very accessibly delivered. Pleasant riffs add light and electric sounds interplay with acoustic, reinforcing the depths within the song’s meaning. Ending on a heartfelt whisper, on the shoreline.

526 – Full on drum and riff intro, taking things back into electric territory. Strong, gravelly vocals. Dark backing animalistic growls add powerful support. It’s quite an epic sound, with dramatic overtones. Good power screams, again. It’s a very well worked combo of tones. Ratcheting up the power, breaking into real speed riffs, in part. The strength of the backing choir adds greater accessibility to the images. Ending on a drastic keyboard tone.

Not For Me – Deep, dull, thudding bass line opens, with softer cymbals behind it. Very Sabbath-esque Devil’s tri-tone in there). Descending into a rain-like pitter-patter piano section. Measured vocal tones follow. Growing slightly darker, with more serrated edges to those riffs and again, that Iommi-esque guitar tone makes itself known. Breaking into velveteen riffs, emphasising the melody, before returning to the creepy gothic sound. A sharply electrified riff joins the fray, building it back up to higher pitched melodies. Taking it up to the skies, closing on a well-built, dramatic drum section.

Overall – A well constructed album, with a lot to be said for it, in both performance and production terms, ‘DFL’ has the art of delivery down, along with the creation of atmosphere. It experiments, successfully, with a variety of sounds, styles and techniques. Yet, it’s just missing that spark of excitement. So not quite there, in the catchy hook stakes, but still a flawlessly conveyed album, with a specialist skill in mood evocation.

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

For fans of Arapacis, Solitary, Herzel, IDDQD, Dark Ocean Society, Dark Years From Now, Starscape.

Posted April 7, 2021 by jennytate in Uncategorized

Witch Hunt – ‘Rock ‘n’ Roll Possession’   Leave a comment

Speed metal quartet Witch Hunt, from Colombia, formed in 2006, were originally inspired by classic traditional metal bands. Especially the likes of Onslaught, Venom, Celtic Frost, Slayer, Steeler, Mercyful Fate and more.

WH’s debut single, ‘Justicia y Venganza’ was recorded in 2007, for V Festival Rock por las derechos Huminas Ciudad Bolivar and featured on 2 compilations of the event; the first of which was a limited edition and the other, ‘Latinoamerica Thrashing The World’ 2009.

2016 brought a new chapter for the band, consolidating their past material, emphasising their appearance at ‘Iv Fest Tunjuelito Territorio Rock’. Many more live shows have since followed. They’ve played alongside numerous bands, including such names as Shellshock, Sobibor, White Thunder, Evillucifer, Torno, Hellroar, Adrenaline, Revolver, Unathorised, Alma Dorada, Cuentos de los hermanos grind, etc.

Fast forward to the last couple of years, prep began on their debut album, ‘Rock ‘n’ Roll Possession’, launched late 2020. In 2021, WH signed to Rata Mutante Records, overseen by Esteban Mejia (Revenge), also managing CD press. Ukrainian label Dead Centre Productions came on board, this year, running digital distribution of ‘RNRP’, globally, especially Europe, UK, USA, Australia.

The Inquisitor – Shock blast of an intro! An immediate speed metal thrill, with a Celtic flavour. Ace power screams, rapidly reached. Straight away, it’s a classic sound, with modern metal vibes. A lot of power and energy in here, of the ‘Heavy Metal Killers’ variety. Riffs to kill, magnificent melodies, hammering drums and generally, it’s high-calibre stuff. The quality’s astounding and never a beat’s missed. Pitch perfect vocals. Those riffs fly, leaving sparks, in their wake. Very Enforcer-esque. That’s what you call an ultra intro.

Demon Hunter – Banging and slightly heavier opening, with exacting bass lines central. A darker thread, with just as much vocal exultancy. Strong underlying rhythms, accentuated by the depth of drumming, working in perfect tandem with the bass. Just frighteningly sharp and exact. Those riffs sing out, as the drumming tones and timbres intensify. Lyrically apt for the title. A huge power sound, till the end.

Iron Pact – Much more solemn, poignant intro, moving towards gothic, with well-placed cymbal hits, echoing through the space. A darker feel, altogether. Gathering pace, this rhythm and melody are quite Sabbath-esque. A pure instrumental, filled with heart.

Hijos Del Fuego – Bang! Straight in, with upbeat, heavy vibes). Back to speed, with intriguing sound combos and energised shouts. Light cymbal tinkles join the heaviness, hitting faster rhythms, while retaining the light touches. Some tricky flat notes, around the mid-section, well handled. Utilising a perfect opportunity for heightened, intricate riffs to scream out. It’s a great deep underpinning bass line, with intense speed riffs and gloriously heavy drums. Moving into Rammstein-esque territory, towards the end. Only heavier.

Margaret – Solid drum hits intro. Right into electrifying riffs and a huge atmosphere. Vocally, more clearly Rammstein-esque. Frantic speed rings out, as the vocals move, with absolutely seamless precision, from deep, spoken chant-like shouts, to impressively precise power screams, whilst accompaniments support. Getting better and better, never losing the high energy, right to the closing fade-out.

Witch Hunt – Compressed crunchy guitar sound opening. A clear blues groove infused within that sound. Again, speeding it up, to an incredible pace. More of those gorgeously pinpoint precise power screams and the guitar screams along with them, beautifully. Fantastic combo of guitars, nailing that heavy crunch and peak acuity, together. Picking up the pace, some more, working it hard, for all it’s worth, reaching a brilliantly metallic closing crescendo of drumming and cymbal hits, ratcheted up, idyllically.

Forces Of The Night – Hitting a perfect intro and straight back into it, again, with a dizzying speed. A very classic metal sound to this, pulling that traditional style off, well. Gorgeously exuberant riffage flies on. Vocals a little more punky here, but still as strong. Rhythm keeping it going, within that exciting, driven beat. Hitting every peak, with exacting standards, ending on a powerfully shimmering cymbal hit.

Rock ‘n’ Roll Possession – Heavy riff intro, knocking it out of the ballpark, once again. Speed thrills, all the way. Very thrashy flavour, utilising every component, with zany high powered energy. Merciless drum rhythms rattle on, with relentless speed. It’s a very cohesive sound. Fun beats keep the vibes up. Still maintaining the heavy momentum, with the melody, performing at full throttle. Intensifying the peaks of rolling rhythms, adding a touch of vocal sleaze, combining it with power screams and just revving it up, to the max, till the driven end.

The Beginning And The End – A cold breeze intro’s, with the beautifully intense steel string guitar, echoing into the atmosphere. Very wintry and palpably so. Deliciously diagonal tones carry it on. Dark and yet fragile. Moving into a slight Baroque essence, with mild flamenco touches. Ending on a gorgeously tasty chord.

Justicia y Venganza (Bonus Track) – Energised drum hits and classically Metallica-esque speed riffs open. Vocals fairly darkened, but still hitting those screams, with seamless ease. Built around a great, workable melody, facilitating gradual intensification. Grinding it in, with those solidly strong riffs, around the mid-point and dancing together, in an instrumental call and response, building it up, to the heights. Quickening things, to faster and faster speeds and ending on a power scream finale.

Overall – Wow! A massive, impressively sustained sound, delivered with extraordinary power, from start to end. ‘Rock ‘n’ Roll Possession’ really does sound like just that. It’s a crazed, hedonistic journey, through lightning bolts of speed and razor sharp vocal precision, assisted by outstanding bass lines and merciless drum momentum. All topped off by immensely good quality production, ‘Rock ‘n’ Roll Possession’ is a true metallic gem.

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

For fans of Metallica, Megadeth, Rammstein, Farseer, Savatage, Black Sabbath, Iron Maiden, Judas Priest, Celtic Legacy, Powervice, White Wizzard, Mind Patrol, Enforcer, R.A.M., Crowning Glory.

Posted April 6, 2021 by jennytate in Uncategorized

The Simple Radicals – ‘White Rabbit’   Leave a comment

Announcing exciting new cover of Jefferson Airplane’s ‘White Rabbit’, brought to you by The Simple Radicals.

The Chicago rockers covered the track, previously and this time, have brought out a psychedelic pop version, along with husband/wife duo Che-Val. It’s a new spin on a well renowned favourite.

Found on all the usual streaming and download platforms, this new version of ‘WR’ is a powerful hit, likely to appeal to many fans of both traditional and modern rock.

Produced by Kenny Cash, at Factory Underground Studio, Norwalk, Connecticut. Mixed by multi-platinum, gold award winning producer Earl Cohen (Tina Turner, Nelly, Usher, Lady Gaga).

TSR is John Malkin and John Griffin. ‘WR’ features Che-Val, as guest contributors/collaborators.

Posted April 3, 2021 by jennytate in Uncategorized