The Climate Stripes – ‘Debut’

The Climate Stripes are Mark James Ross (guitars and keyboards), Pete Moran (bass and backing vocals) and Tony Fitzgerald (drums and percussion). ‘Debut’ is of course, their debut). A north-western, Manchester UK rock band, on all the usual social media platforms, ‘Debut’ was entirely independently composed, recorded and produced, by MJR, at Dalemedia Studios, Rochdale. It was mastered by Simon Gibson, at Abbey Road Studios, London.

TCS have many musical skills between them, including Mark’s early claim to fame, of having sung a duet with Lisa Stansfield, at the school play). Amongst the skills he’s nurtured, as an adult is obtaining a commercial pilot’s licence, which may not be musically relevant, but as he shares that with Bruce Dickinson, it’s got to be metal, in itself). Pete also adds keyboards to bass and backing vocals. Drummer Tony incorporates aspects of jazz and funk to his rock drumming.

‘Debut’ is very much thematically geared towards connecting with listeners, on the level of shared human experience.

Some may recognise the album images of Equatorial Mars, taken with permission from Bert Ulrich, at NASA.

Invisible – Smooth, velvet blues soul intro. Very Clapton-esque structure and riffage. Good clear, bluesy lyrics. It coasts along, with a lot of atmosphere. Liking that riffage a lot. Vocals confidently flow through the song. Strong feeling of classic, old school blues within the lyrical melodies and arrangements. Fading out, just as smoothly as it began.

Come Home – Gentle bluesy opening, this time, with more of a touch of Chris Rea. It’s very fluid, as before. Befittingly appealing and inviting, lyrically and melodically. Very capable drum hits, aptly spaced, slotting, easily, into the structure. Plenty of string-bending melancholic nostalgia, ending on another cool riff slide.

Too Late For Lies – Bouncy funk intro, evoking lounge rock atmospherics. Once again, it slides along, so easily. Touches of reggae in here, but luckily, overridden by the blues. (Good title, there). Very guitar driven, with very soothing, laid-back vibes. An effortless, traditional blues sense characterises the track, performed with natural aptitude and flow. Ending on glassy light percussion, creating a fairground effect.

Why Did You Leave Me? – A veil of light opens, onto a slow blues croon and a fair amount of funk. Keys entering, now, fitting right in with the atmosphere. Here, there’s a Floyd-esque sense, in addition to the continuing Clapton and Chris Rea echoes. A very emotive track, with the shadowy sounds one of its best features. Actually quite Bonamassa-esque, too. Lots of string-bending bounce, as before, ending on the same. Such a typically traditional blues sound, with perfectly fitting arrangements.

Long Time Old – Coming in gradually, with a very similar sound, but now punctuated with slightly more pointed line endings. Vocals stretched out, a bit more, falling in line with the rhythms. Gorgeous riff melodies, moodily delivered. Powerful beach visuals, evoking white sands and clear blue oceans. Ending on a neatly executed chord.

No Revolution – A voice-over, conveying the news of John Lennon’s death opens, then slides into another classic blues refrain. A very cosy swing to this. An upbeat tone, despite the contemplative lyrics. Breaking down, into a slightly more uplifting tone. Perfectly placed drum beats and a rising mood, conveyed via the lighter riffs. Vocals growing more conviction fuelled, really transforming the feeling behind the words. Closing on a powerfully positioned cymbal flourish and definitive riff. Fading out with JL’s song, ‘Imagine’.

The Road – Isolated riffs intro, moving from solemn, to slightly more hopeful, with a clear funk basis, underpinning. Lyrically and melodically, bleaker than before, but with enough blues edge to make it lighter-hearted. Beautifully velveteen funk riff, breaking it up, to a higher mood. Still a lonely sense to it, but very soulful. Slight Floyd echoes, again and the bounce remains, till the fade-out.

Flesh And Blood – Much starker, more upbeat intro! Still, the bleak atmosphere persists, but now, it retreats, behind the sun. A carefully placed touch of shimmer adds another light glimmer. Moonbeam like shafts of light reveal themselves, as the funk aspect builds. Involved guitar riffs and both those and the vocals once more echo Floyd, as the cymbals fade it out.

Light As A Feather – Jenny’s Song – Gentle, softened acoustic riffs open, with vocals matching the mood. The feeling’s palpable. A very different sound, more alt rock than blues, though there are clearly still blues sections in it. Quite a beautifully emotional tribute, with intuitively placed harmonica. Such lovely soft vocals, through which, the catch in the voice is poignantly audible. Ending on a quiescent piano tinkle.

Look Under That Rock – A crowd noise intro’s, with uplifting blues riffs hot on its heels. The most upbeat one yet, with a sexy slant). This is the bluesiest track of all, with even stronger Clapton-esque vibes. Great sensual tone and rhythm). As evocative as the rest, but happy evocations, in this case. Ending sooner than I’d have liked, but a very classic blues scale finale.

Overall – A very reflective album, I can’t fault. The sustained blues sound carries everything it needs to, including and especially, its poignant passion and conviction. Covering all angles, from seductive sensuality and teasing, upbeat melodies, to stark solemnity and mellow memorial, all equally palpable, in delivery. It’s collectively well performed, revealing accomplished hands and vocals, throughout. The rhythms are perfect; the atmosphere, nailed. High-quality production enhances the rest. An ideal Sunday chillout album, thoroughly entrenched in a pure blues flavour.

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

For fans of Eric Clapton, Cream, J.T. Wright, Pink Floyd, Joe Bonamassa, John 5, Jeff Beck, Kikamora, Queensryche’s bluesier tracks, Chris Rea, yacht rock.

All proceeds from track 9, ‘Light As A Feather/Jenny’s Song’, will go to Macmillan Cancer Support. To donate, please go to

For band news and show dates, find them on:

Posted September 26, 2022 by jennytate in Uncategorized

SYRYN – ‘Heads Or Tails’

Inspired by the Greek mythology surrounding Sirens, sub-genre-blending metal band, SYRYN (pronounced Siren) was born. Incorporating elements of power metal, thrash, traditional heavy-metal and operatic, it’s a hypnotically entrancing sound, with a lot of power behind it.

Their debut album, ‘From The Depths’, was released in January 2020. The resulting success has led to SYRYN featuring at numerous international festivals, including the prestigious Wacken Metal Battle, Canada, 2019, where they reached the semi-finals.

2021 saw ‘Beyond The Depths’ receiving the YYCMA’s ‘Metal Recording Of The Year’ award. In 2022, the YYCMA’s nominated their single, ‘Madness Becomes Me’, for the same award and the band for ‘Group Of The Year’.

‘Heads Or Tails’ is the newly released album, featuring contributions from guest vocalists, Amanda Kiernan (ex-The Order Of Chaos, ex-Into Eternity) and Craig Carswell (producer, singer/songwriter for Dorian’s Mirror, Court Of Cardinals). ‘HOT’ explores the world of both the Siren and the pirates/sailors, in greater depth. This detail translates, both melodically and stylistically. With each track created to represent a different theme and sound, it’s a diverse album, featuring cross-genre USP’s, throughout.

The real essence of SYRYN is best experienced live, with audience interaction. Early followers of the band are known as Syrynites, more of whom they hope to collect, as time goes on. Keep an eye out for their show schedules, as more global tours and events are planned.

SYRYN are endorsed by Paolo Rage – WB Gear (Revv Amplification and S.I.T. Strings) and Bryan Campbell – Scorpion Percussion, WB Gear.

Bands they’ve performed alongside include: Into Eternity, Planet Eater, Goatwhore, Neck Of The Woods, Anciients, Hammerdrone, All Else Fails, The Order Of Chaos, Iron Kingdom, The Convalescence.

Surrender – An air raid siren sounds, around some weather and riff effects, with a steady bass line, underneath. Ominous vocals tease and seduce, as a fluid melody swirls around them. Very skilled vocal dexterity, moving up and down the scales, effortlessly, while the riffs intensify. Building that tension, palpably, emphasised by the sudden retreat of heavy accompaniments, replaced by pointed cymbal hits and creeping bass. The louder, harder instruments return. Followed by some very effective stop-start stuff, then a vocal power build-up, replaced by closing air raid sirens. A very plausible and haunting track, evoking the atmosphere, perfectly.

Till We Drown – A volley of drum beats opens, with low bass sitting alongside them. Lots of propulsion and the tinkling cymbals really hold the tension well. The sense of threat’s audible, through the vocals, punctuated by piratical shouts. A controlled freedom in the vocals, again, conveying the atmosphere, via the building anthemic shouts. A great powerful blend of melody, power and theatrical drama. Impressive vocal pitch, at the end. Just pumped with energy.

Walk The Plank – Watery sounds intro, along with a very convincing shout of ‘walk the plank’, like Captain Hook, with added gravitas and grit. Electrifying feminine vocals, such cohesive, combined backing shouts. Sustaining the consistency in those vocal heights. Firing off machine gun-like drum assaults. Well-controlled rhythms, from the bridge. Gorgeous riff solo, 3/4 in, screaming for its life. The water rises and bubbles, as the riffs compress and the pneumatic machinery sense drills down, into the drums, again, building, to a strong vocal climax.

Sink Or Swim – Heavy riffs, with a light melody open it up, with lightning fast drum rolls following. That vocal starkness hits, once more, with so much edge. Just a blitzkrieg of fiery, frenetic riffage and vocal melodies. As before, they do the intensification so well, stacking up the heat, till the ending scream.

Madness Becomes Me – Cleverly constructed cymbal intro, with bass notes sliding through it, before yielding to lead riffs, with equal slide. Velvet feels and dives, just like swooping, diving, somersaults, in the air. Vocals enhancing the effect, in their pointed style. Just so much class, sophistication and excitement bound up in this. It’s a thrill ride of true and total seduction). Drum rolls folding over and racing, faster, with those sharp, heightened vocals. A powerful burst of riffage precedes the final scream. Just immense and definitely the standout track, so far.

Fist Full Of Daggers – A beautifully orchestrated intro, boasting a sharpened drum edge, with a blast of incredible tremolo and vibrato and a rhythmic melody. Vocals this time sharing the space with blackened, masculine growls. Drums and riffage carefully spaced. Growing increasingly atmospheric, with some beautifully timed riff screams. Melodic masculine vocals enter, 3/4 in. Feminine leads hitting the highest points, so effortlessly. Like 2 warring factions. Growls growing more intense, by the moment, bringing it to an end. A very memorable track, even if I do keep wanting to call it Fist Full Of Diamonds).

Heads Or Tails – A darkly sinister heartbeat opens, amidst the darkness. Shrill riffs surrounding. Very poignant. Sustaining that rhythm, for a while, till the accompaniments raise it higher. Really effective vocal narrative. Fitting those accompaniments so well. Physically palpable emotional flow. Hugely impressive scream, at the bridge. Then the rhythmic drums and riffs pick it up and run with it. Speeding so fast, then dipping down, so intuitively. So much incredible vocal and instrumental talent, as everything screams, in union, closing on a return to the dying heartbeat.

Succubus Queen – A joyful, playful voice is soon drowned out, by the evil laughter and control of the Siren. A hammering rhythm beats out, from the drums, joined by the equally impressive staccato riff rhythms. This time, a vocal duet sings. Racing riffage drives it on, with the drums, as the vocals become sporadically ogreish. Once more, the sheer collective talent just blows you away. Hugely evocative. Especially in those impossibly brilliant vocals. Ending with returning mocking laughter and a machinistic sound effect, as if physically dragging someone down, into the water, to the depths, beneath.

Overall – Impossible to know where to begin praising an album so full of extraordinary skills and accomplishment, other than to say it’s off the scale. ‘HOT’ is one of those rare diamonds you find, occasionally, which hit, with such impact, it’s hard to convey, but impossible to forget. True to every word publicised, it creates the exact atmosphere intended, from start to finish. Achieving the effects with such panache and enthralling delivery, it may well invade your dreams. Hauntingly and ethereally captivating.

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

For fans of Haxan, Hand Of Kalliach, Halestorm, Nomadic Narwhal, Urania Fantasia, Epica, Nightwish, Witchslayer, Ethereal Realm, Draghoria, Viking Queen, Wintereve, Crusade Of Bards, Alestorm, Wrathblade, Vixen.

Official music video for ‘Sink Or Swim’ –

Distributors – Distrokids

Publicist – Jon Asher

Posted September 24, 2022 by jennytate in Uncategorized

Crystal Gates – ‘Torment Of The Lonely Ones’

Introducing ‘Torment Of The Lonely Ones’, new 10 track album, from metal band Crystal Gates.

The Ways Of The Lonely Ones – Only coming in 11 seconds in. A spoken word narrative, amidst the sounds of nature, in the background. Building up, to a big orchestral section and ending just a bit too abruptly. A very hopeful sound, though.

My Glorious Fall – Straight in, with a dynamic Celtic riff, speeding along, joined by beautifully sharp feminine vocals, starting off as a solo, evolving into a duet, then a backing choir. Heavily melodic. A very folky, fantasy feel, gorgeously performed. A brilliantly upbeat tone, conveyed via a combo of instruments, carrying intrigue. Operatic, symphonic, power, speed and melodic metal all covered, in an energised, urgent arrangement, driving forward, with an uplifting atmosphere, all the way.

Alive For The Journey – Sparky riff tones open, onto a landscape of wonder. An awe-filled journey, befitting the title well. Beautifully vocalised, with very fitting glockenspiel tones, within the huge orchestral backdrop. Truly lightning fast riffage, delivered in such a celebratory melody. A very hard-hitting picturesque audioscape. The choirs are so cohesive, boosting the melodies, further. Lead vocals hitting such impressive heights. Raining riffage, driving along, in hugely mood boosting style. The chorus is magnificent. The perfect fantasy film soundscape. Astonishingly well-positioned ending definition.

A Lonely Dreamer’s Wish – Exploding into life, with a burst of metal vitality)! Here, a more relaxed, contemplative structure enters. Beautifully placed shimmer effects. Tremendous vocal heights, well assisted, by that enlivening electric riffage. So atmospherically evocative. Drums making their presence known, more so, towards the end, featuring astonishingly handled high pitches.

The Stars Temple – A brief low depth intro’ing, before instantly bursting into vivid life, once more. Adding a curious Eastern vibe, now. That duet’s perfection, itself, as are the solo vocals. Getting right into the feeling, with a classic operatic choral section. Always, the fantasy fuelled metal travels, alongside it, adding more power and fire. Incredible vocal heights, a harp accompaniment, followed by a gypsy style Wurlitzer effect, built up, with strong cinematic backdrops. Slight flamenco vibes, in places. Growing vocals, now including masculine voices, adding to the atmospheric height. Just astounding sounds. All the time, rushing along, via urgent riffage, high-class melodies and a powerful ending drum hit.

Moonshine & Sorrow – A breezy piano intro, followed up by a moody riff and vocal accompaniment, with shimmering glassiness in the background. That gorgeous glassy glockenspiel effect adds extra twinkle and shine. Loving those electrifying riffs, more pronounced at the bridge. Once more, the vocals are indescribably impressive, hitting that shrillness, so naturally. Drums gaining volume and strength, 3/4 in, once again, as the vocals sing, as one. Very Aonia-esque. The perfect drum close.

Winter Ghost – Starkly delivered intro, with fast-paced speed riffage, as a slightly more melancholic, yet still uplifting tone. Reaching those vocal heights, with effortless ease, uniting, at the choral sections, again. Just varying the staccato rhythm, slightly, towards the bridge, before climbing back up, to an electric ascent, fuelled with Celtic flavour. Very melodically driven. Again, that whirling Wurlitzer effect adds more drama and light. Racing to another thrillingly theatrical end.

Nightmares – Strong opening, with an audibly powerful drum beat. Amazingly shrill vocal pitches, with a small, but notable bass note, underlining. A vocal duet takes flight, once more, punctuated by sporadic bass lines. Hitting the highest point, at the bridge, when the riffage grows even more frenetic and melodic, faster and more dramatic. Taking it up to the top of the mountain, on that final vocal scream.

Soul Of Rain – Banging opening, with dizzying, ecstatic riff melody. Lyrical narrative carrying a mythological element, now. Floating along, on that vocal melody, again, suffused with more delicious riff wizardry. Sustaining those impossibly high vocal pitches. Another fabulous, immaculately timed riff close.

Torment & Wonder – Slight 6 second delay, before a ballerina-esque fragility of sound enters, heightened by the glassy keys, taken over, by a strong masculine narration, followed by a flight of angelic, feminine vocals. As before, all melodically driven along, by lively riffage, racing onwards, bolstered by the drum hits. Just a glorious sound combo. Slowing things down, 3/4 in, with a newly poignant tone, with a big percussive backdrop. Gradually, rising, with fevered, frantic riffage and a touch of brass. Just before the bridge is where the drum pace speeds up, to meet the riffs. A huge orchestral section adds more and more flavour and diversity of versatility, with every moment. Reeling you into the ever rising atmosphere, from the mid-section, onwards. That immense riff solo’s just mind blowing. Such invested, impassioned vocals. Stacking up the energy, throughout. Choirs add pointed singular tones, creating more dramatic effect. Speeding its message along, at breakneck pace. A true epic. Slowing, as it reaches a close, with a palpable fantasy ending.

Overall – Such a genuinely epic production, it’s almost impossible to express its greatness, verbally. ‘TOTLO’ is a truly stormbreaking sound, belonging right in the heart of classic fantasy epic territory. Beyond the highest level of accomplishment, even, verging on otherworldly qualities, ‘TOTLO’ showcases other lands and times to which metal can be taken, reflected by the greatest versatility and natural born talent. A sparkling jewel of outstanding quality.

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

For fans of Epica, Nightwish, Within Temptation, Aonia, Gaia Epica, Therion, Lacuna Coil, Evanescence, Emerald Shine, Feskarn, Urania Fantasia, Dark Forest, HROM, Erzsebet, Ignea And Ersedu, Veritas, Elkepath, Heirs Of Isildur, Marius Danielsen, Askvader, Adamantis, Silent Winter, Archer Nation.

Direct band social media links to follow.

Posted September 23, 2022 by jennytate in Uncategorized

Torn Fabriks – ‘Impera’

A Portuguese traditional thrash metal trio, Torn Fabriks began during the 2020 Covid crisis. The original seeds were sown from online communications, revealing shared musical interests.

The band name, Torn Fabriks, was created to represent the coming together of founders, Jorge Matos (guitars) and Ricardo Santos (bass and vocals), to relive their lost youth, via the dreams they had, at that time.

Following positive global media acclaim, they took it to the next level. By then, they were a quartet, also featuring Gualter Couto, co-founder, (drums) and Paolo Soares (drummer and producer for Rageful).

‘Mind Consumption’, their debut EP, followed, soon after, on Portuguese label, Firecum Records, in January 2021, featuring the cover design of Roger Esteves.

Several months down the line, GC (ex-Morbid Death, ex-Flight Of Eden), replaced PS, on drums.

Production of ‘Impera’ commenced January 2022. It’s now available, on Firecum Records.

RE again, created the cover art, while Nuno Rua produced the album.

TF are now carving out their niche, in the industry.

Intro – Very gentle, Pink Floyd-esque intro! Sailing on a bed of soft riffs, punctuated with thunderclaps, moving into deep-set, heavy riffage, at the end.

Outcome – Fast-paced, heavy riffs open, with even faster drum rolls, relentlessly attacked. Extreme thrash vocals join in. Acute aggression, within audible lyrics. Pretty standard, so far. Well delivered, though. Consistently hardened sounds. Rumbling, thunderous drums end it, with a final vocal line. Decent performance. Just a bit generic.

Hallucinating Levels – Good throwdown thrash intro, speeding rhythms, conveying a very similar sound to the last. Harsh, pointed vocals, riff solo, at the bridge. Collectively proficient, a lot of obvious vocal passion. Just quite derivative. Effective close.

Here – Opening in a very similar way, but a touch more riff focused melody. Speeding up, again, retaining the vocal fire, hitting a faster riff rush, at the mid-section, adding a well-placed paradiddle. Typical thrash lyrics. A slight vocal edge to the line endings.

Leave Me Be – Right into racing riffage. Drums tumbling down. The same thrashy vocal style. Building the tempo, slightly. Much like before. Just nothing to mark it out from any other thrash bands. Lightning fast drum rolls and riffs, past the bridge. Sharp delivery, racing to a percussive end.

Red Alert – Banging out another thrashy speed intro, via hyped up sounds. Again, the lyrics are very standard. Occasional breaks in the frenetic riff rhythms, before returning back to form. Vocally, it’s got a slight Devildriver echo. Very much a rage-filled track, featuring slightly more urgency.

Against All Odds – Quick drum opening. Then into a melodic thrash refrain. Good twiddly vibrato/tremolo. Rushing pace, once more, echoing samey thrash vocals. More riff effects here, though, with slightly more melody, building and a bit of echo reverb. Riffs speeding up, again, descending down, towards the end. Raging vocals adding a touch of gore, in closing.

We, Torn Fabriks (featuring Junqueiro) – Unhesitant, cohesive intro. A little more vocal exuberance, with a stronger anthemic section. Quite physically structured. Accessible pace, heightening riff pitches, ending on a more memorable vocal line. Best track, so far.

Highest Price – Very similar speed riff opening, with deep bass underlying. Those same aggro vocals. Percussion sustaining the fast pace. Once more, it’s a very derivative arrangement. Good drum rumbles, creating a basic thrash atmosphere. Skilled riffage, climbing in height and pace, featuring well-placed effects. Rapid ending, with a single cymbal hit.

Rise Or Fall – Fast, echo effects intro, with even faster riffage, supported by the drum rhythms and vocal power and pace. Climbing, in intensity, here and there. As before, just very classic thrash. More technical emphasis, but with an impressive melodic riff solo, from the mid-section on. Faster drum rolls. Unchanging vocal extremity and blackened atmosphere. Slight anthem, ending.

We, Torn Fabriks (Original Version) – Heavy drum rolls and riff tones enter. A more melodic focus. Easier to follow, in that sense, but not much different, otherwise. The chorus works, though. Drums rolling on, with the rest. It’s the anthemic ending that works best.

Overall – A proficient enough filler album, with the more anthemic sections being the star of the show, ‘Impera’ is very much a standard thrash offering, with very little to mark it out from any other. It’s an okay listen, with clear technical ability, but it’s low on memorable content. In need of a recognisable signature sound and considerably more track by track variation.

5/10 *****

For fans of Devildriver, Lamb Of God, Trivium, Amon Amarth.

Posted September 21, 2022 by jennytate in Uncategorized

Witchslayer – ‘Witchslayer’

Newly reformed, Chicago’s metal band, Witchslayer now offer up their debut self titled album, available in both physical and digital formats, via bandcamp.

Witchslayer’s history dates back to the early 80’s, when their 5 track demo was released, on Metalblade Records, featuring the track ‘I Don’t Want To Die’, on the Metal Massacre 4 compilation. ‘Witchslayer’ features the same original 11 tracks composed back in the 80’s. The tracks have been recorded by the current line-up, though. This line-up includes Jeff Allen (original vocalist), Ken Mandat (Damien Thorne), guitar, Nick Lucid (Vicious Circle), bass and Gabriel Anthony (Tyrant’s Reign), drums.

Witchslayer – Explosive start! Already, it’s a wacky, vivid sound, stacked with intrigue and high energy. Hugely enthused performance. Taking the tone down and slowing the pace, at the bridge, but still sustaining the colour and energy. Some fairly Maiden-esque sounds in here and it’s all the better for it. Just a well titled bag of metallic tricks, with an upbeat atmosphere at its heart).

Crypt – Stark riff intro, featuring a classic Sabbath-esque Devil’s tri-tone. Instant imagery evoked. Excitingly descriptive and really florid melodies. Buzzing with heavy and adventurous arrangements. Very high level stuff, as much for its intrigue and exploration as its vivid tones and imaginative lyrics. Like being in a metallic fantasy fun-fair, with Halloween soundtracks. Great spooky ending.

Salem Trials – Neatly compressed riff intro. Fast-paced drum hits chasing behind. Uncomfortably, but truthfully worded lyrics. Tumbling drum rolls fuel the fire, further. Some may find this triggering, but it’s really just history being told, in wildly metallic form and very effectively, too.

Losin’ It – Hard-line, heavy riffs drop from the sky, infused with doom. Again, very Sabbath-esque and just as strong. Deep keys characterise this, emphasised by equally deep rhythms. Lyrical darkness, well vocalised. Very thrilling, Halloween-esque stuff, with heavy gothic atmosphere. Bass lines laying down darker depths, entrenching it in doom. The rhythm of the chorus rolls well, speeding up, in increasingly intense tones. Some very tasty riff work in here, sporting impressively Van Halen-esque para-diddles. Building it up, to the final shout of ‘no’! Good job).

I Don’t Want To Die – Fast-paced tumbling drum rolls open, with lightning fast riffs, followed by more metallically delightful bass lines. That fabulous descriptive lyrical style lends itself well to these sounds. Gothic melodies intensify the feel. Speeding up, with warrior tribal drum beats, coupled with the easy narrative flow. Cymbals inserting the shimmery aspects, at the bridge, adding a finer point. Here, the rhythmic centrality really emphasises the mood of the moment. Creative twiddly riff para-diddles increasing, towards the end. Heightened tension’s the word.

Vixen – Magnificently heavy steel strings intro, onto an initially looser tempo, soon climbing, up to a faster rhythm, with all the same darkness at its heart. Very Sabbath-esque, once more. This is more ‘Symptom Of The Universe’ than ‘Black Sabbath’, though. Playing with pace and timing, while retaining the lyrical power. Once more, some truly fab riffs at play here, placing the acuity right where it needs to be. Disturbing lyrics, but charting past history, again.

Seduction – Dark, dense drum rolls and bass lines open, with heavy atmosphere. Riffs catching up, fitting the lyrics neatly. Aflame with passionate feeling. So palpably expressed. Racing along, heightening the tension and tempo, around the mid-section. Returning to early Sabbath-esque sounds. The narrative’s so impassioned, conveying the terror well. Especially as the rhythm climbs higher, towards the sudden end.

Augury – Fast, chasing intro pace, again, echoing Sabbath’s ‘Sabotage’ era. A real urgency to this tone and speed. Injecting that same flavour of fear and danger. Powerful narratives and riff choruses, hooking you in. So Sabbath-like. Still adding more inventive riffage, though. Positively filled with vibrancy. It manages to be both sharp and doomy, at once. This really centralises the narrative, though and so effectively, whilst throwing out sparks of fiery electricity.

Hang ‘Em High – A single drum roll intro’s, onto another vivid metallic soundscape, filled with darkness. Vocals hitting all the heights, with natural ease. So darkly and hauntingly atmospheric. As with the rest, it’s very easily imaginable. Some really vibrant riff touches, spiralling down. It certainly transports you right there. Pointed finish.

Baneful Ruin – Even heavier opening. Here, the drums and the darkened depths of the mental scenery say it all. Yet it still sustains the light, within the riff melodies, even amongst the chilling lyrics. Flashes of light show, through the darkness. Always, the percussive heaviness remains, grounding the track in reality and strong foundations. Gorgeous closing crescendo.

Deceiver – Solid, singular drum hits intro, onto the Devil’s tri-tone and a battle-esque drum roll, heavy with pre-sentiment. Building the atmospheric tension, chillingly. Punctuated, by pointed twiddly riffs, embedded in vocal and lyrical darkness. Edging towards screaming out the tension and horror. Great flash of vibrato, whammy and bottleneck, towards the bridge. Climbing ever higher, the sense of doom intensifies. Speeding it up, 3/4 in, with some light glimpses and a glimmer of hope. Loving that riff wizardry, exploding with colour and life! Bringing it to an end, with a single note.

Overall – A veritable feast of Halloween-esque metallic darkness and gothic doom, ‘Witchslayer’ has to count amongst the most truly authentic, energised and highly driven albums ever to grace my radar. Possessing the highest quality sound and performance, created with such unique flair and contagion, ‘Witchslayer’ is beyond memorable, entering the realms of unforgettable, on every level. True metallic wizardry screams, from every pore. Sensational, classic metal magic.

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

For fans of Blakenstein, Black Sabbath, Iron Maiden, Witchcraft, Electric Wizard, Rifflord, Wintereve, Metal Church, Space Parasites, Doombanomicon, Torpedo, Gravehuffer, Viking Queen.

Posted September 19, 2022 by jennytate in Uncategorized

Juan S. Garces – ‘Personal Warfare’

Ecuador rock/metal solo artist Juan S. Garces presents his debut 7 track album, ‘Personal Warfare’.

Music has been central to Juan’s life, since early childhood. Supplementing his practical guitar experience with theoretical and experiential studies, he’s played alongside some of Ecuador’s most famous bands, including: Colapso, Descomunal, Madbrain, Viuda Negra, plus some musicians from genres outside of the rock/metal world.

Entirely independent, ‘PW’ is the culmination of Juan’s lifelong dream. Heavily prog centred, ‘PW’ is a combo of exciting rock and metal tracks, featuring many deep-set lyrical messages.

Several other contributors feature on ‘PW’. Amongst them, Meyrick De La Fuente (vocals), Exist Immortal, Conner Green (bass recordings), Haken and Raymond Hearne (drum recordings), Haken.

All music by JSG, except ‘Blue Light’, also featuring Edd Heritage.

Mixing and mastering by Forrester Savell (AU).

Cover Art, Logo and Design – Lenore Ani.

My Bid – Very careful, Metallica-esque stop start intro, then into a refreshing, Latino prog refrain. Confident vocal projection. Very thoughtful arrangements, delivered in well structured bursts. The rhythms are contemplatively spaced. Lots of melody and drive, without being rushed. Strong vocal power and the same can be said for the accompaniments. A complex and intriguing song.

The Devil And The Sea – A more solemn riff intro, with drums following, via the same slower pace and mood. Then crashing into a more explosive section. It ebbs and flows, though, weaving in and out, with alternating tones and rhythmic movements. A very fluid track, featuring motion, at its heart. Cautious vocals, portraying the changeable moods and reflections. Riffs sharply cutting through the atmosphere. Showcasing impressive grasp of rhythmic and tonal alternations, receding and returning, with timing, both affective and effective. Throwing out the poignancy and power, at once. Good, smooth fade-out.

In My Mind – Gentle, acoustic and echo riffs; drums following, close behind. Similarly poignant to the last track. Especially in the vocal sense. Some beautiful velvet riff tones, before the amplified sound enters, but holds back again, for that softer sound to come forward. Once again, it peaks and flows. Good range of sounds and styles, reflected best in the varying timbres, tones and rhythms. It’s both quiescent and loud, in places, flowing, naturally, between the two. As before, the general impression is of multi-talents, used with great care and attention.

Human – A very familiar opening sound. Haunting vocal tones and a melancholic, downbeat tone. There is beauty and nostalgia within it, with some higher points. It’s a sound featuring many styles and genres. Power peaking, periodically and passionately. Ending with fine definition.

Blame The Mirror – At once, a heavier track, combining aspects of death, thrash, melodic, prog, speed and power. A very dramatic sound, with strong theatrical elements. Here’s where it merges, into a fusion of colourful sounds, from start to end and it’s a well-placed wildcard, in that sense. It definitely keeps you guessing which direction it’ll go in next.

Personal Warfare – Back to sullen, maudlin guitar tones, before breaking into a burst of vivid heaviness, then back to depressive melodies. Gradually blending the two. 1/4 in, the heaviest, deathy sections show themselves, before the melody gains strength. An intelligently crafted arrangement, melding heavy, ‘Tallica-esque drum rolls, contemplative lyrics, classical guitar sections, electric riffs and vocal melodies, both dark and light. A lot of careful detail’s gone into this track. Such skilled structures. Peaking, at the bridge. Fluidly moving, through different rhythms, melodies and palpable emphases. Drums growing stronger, as the melodic segments build, alternating, throughout. It’s a very noticeably emphatic track. Probably the strongest, vocally, in melodic terms. Well-positioned closing cymbal shimmers.

Blue Light – Piercing piano tones intro, yielding to powerful riffs. Vocals hitting a higher pitch, here. This is slightly breathier. Once more, it’s very proggy, revealing strong experimental strands, with layered riff styles, building drum power and vocal strength. Careful wah use, 3/4 in, with background keys slowly creeping forward. As before, there are many sounds and instruments interwoven. The tension builds, gradually, till the end.

Overall – Undeniably impressive, in its intricacy, ‘Personal Warfare’ is a complex album, beautifully presented. Hard as it is to criticise, the only feature I’d suggest meddling with is the depressive, downbeat tones. Though there are some higher melodies in there, they’re fairly absent. Otherwise, ‘PW’s a very classy and well perfected production, with versatility and sophistication woven, throughout.

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

For fans of Mike Oldfield, Pink Floyd, Porcupine Tree, Hookahthefuzz, Dragonforce, Nightland, Final Coil, The Anchorite, Latitudes, Liholesie, Oceanica, Dark Ocean Society, Coheed And Cambria.


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Posted September 18, 2022 by jennytate in Uncategorized

Streambleed – ‘United In Hatred’

Streambleed is both the band name and a mission statement. Thus, they’ve branched out, from the main sounds of thrash metal, creating a signature, incorporating aspects of groove, death and live extremity.

Formed in Austria, in 2015, Streambleed have performed not just in their home country, but also in Germany and the Czech Republic.

At live shows, you can expect not only the classic mosh pits and walls of death, but now, an extra factor of new stage costumes, crafted to fit the live show themes.

This quintet are now a solid unit, having grafted, for so long, in rehearsals and liaised with graphics, styling and merch specialists, aiming to hone their sound to nothing less than perfection. ‘UIH’ is the 3rd production, following 2018’s debut, ‘Enslave The World Forever’ and 2019’s single, ‘Bite And Fight’.

Deus Ex Machina – Random background sounds intro, onto a creepy riff, followed by low keyed enigmatic vocals, soon moving into crunchy grit. Ending too abruptly, but it definitely leaves a strong sense of curiosity, in its wake.

United In Hatred – Hammering death metal opens. Brutal vocals, matched by the rapid pace. Very thrashy, with drum rolls fitting the mood. Intensifying and spinning it out, at the bridge. A frenzied attack, with added melody. Confident performance. Ending with some drum beats and a fading riff.

Redlined – Steel string intro, injecting intrigue. Segueing into an intense refrain, with jagged edges. Here, the vocals are more melodic, but still staying thrashy, with a lot of grit. Clearer lyrics. Catchy melodies. Adding a death edge. Good riff solo, 3/4 in, bringing more experimentation. The chorus is bound to create contagion. Aggressive vocal ending.

Our Place – Screech intro riff and straight into a dizzying pace. Aggro vocals, from the start. Again, very gritty and gravelly. Familiar chorus line. Very rhythmic. Once more, the riffage rocks well, with some decent solos. It just glides along, amongst high aggression. This could use more melody. Very throaty vocal style. Definitive end.

Trail Of The Past – Opening with the same hard-line vocal aggression. Chasing rhythms characterise the sound. The beat drives it on. Relentless rage. Melody emphasised by the keyboards, at the bridge, with more of that ominous flavour. It batters its way onward, as the drum beats space it out, briefly, towards the end, before picking the pace up, again. Just lots of coarsened sounds, fading out, smoothly.

Insane – Quickened drum roll introing. Slight sense of lyrical mystery. Building the tension. Good melodic structure. The sound effects and creepy laughter, 1/4 in add definite intrigue. Riffage heightening that tonal tension. Well-positioned tonal motion, 3/4 in. More throat-ravaging vocals, mercilessly pressured. Well-defined drum roll closing.

Crisis Cult – Rhythmic instrumental combo’s open, with an Eastern, enigmatic melody. Drums still continue, with the same fast-paced intensity, supported by the riffage, matching the direction. Very roughened vocals, as before. Well worded chorus lyrics. Steady pace, with the same relentless aggression. It’s definitely one of the deathiest tracks. High-intensity, throughout, with a very welcome melodic riff solo, with a siren scream, 3/4 in. The anthemic vocal sections fit it well. Closing on a brief cacophony of background noise.

Mindless – A surprisingly symphonic intro! Leading into a big, built-up sound, then straight back into death metal territory. A well integrated riff melody shreds behind the rhythm, coming forward, towards the bridge. Drums pound their way in, 3/4 in, as the thrash overtakes, with the same death vocal emphasis. Slowing it down and ending, on deep, troll vocals. Slightly more visually evocative.

The Haunted – Solid, loud, heavy drum hits open. Speeding it up, the rough death vocals return. A standard death/thrash/melo-death combo. Very well sustained consistency, rhythmically and tonally. Intensifying things, to just past the bridge, then intro’ing some melody, fading out and yielding, to more troll vocals, with a steady rhythm, closing, with a well paced softer vocal.

Delusion – A welcome hint of gentility intro’s, via acoustic tones and softer vocals. Then an equally welcome grit-filled vocal, making for a beautiful metal ballad. Here’s where we hear the versatility of Streambleed. Especially when those bleeding riffs enter. Enchantingly hypnotic, balancing grit with melody, heavy with soft, passion with poignancy. This is truly mesmerising. Even the drumming adapts to the feeling of the mood. Slightly Metallica-esque hit, closing. Standout track. Spine-tingling).

Killers Of Our Perfection – Very Megadeth-esque riff groove opening! Slightly echoing ‘She-Wolf’, before segueing, into another death/thrash/melo-death refrain. Some very tasty screaming riffage, at the bridge. Combining anthemic choruses and backing vocals, with rhythmic drum hits, ending. A lighter-hearted feel to this one, melodically speaking.

Into The Abyss – Wild kick drum intro. Then taking it down, to a low, doom-drenched arrangement, with that creepy vocal edge, before anthemic group shouts join the fray. Consistently spaced, rhythmic drum rolls. Gothic darkness penetrates the vocals, in places. Well assisted by the coruscating edge to the group harmonies, shouting, in alignment with them. A clear forward direction to this, carefully structured. Remaining dark, bringing a symphonic style and sound to the track, with a gothic piano section, fading it out, at the finale.

Overall – Well one thing’s clear about Streambleed – they’re as united as they claim, given the sound of ‘UIH’. It certainly shouts alignment, loudly. As an album, there’s no faulting the technical aspects or delivery of ‘UIH’. It could just do with a bit more melody and a little less deathy aggression, but in saying that, there’s no denying the power and fragility of ‘Delusion’, showcasing Streambleed’s easy capability, in this department. So just a bit more balance between rage and gentility. Aside from that, it’s a very impressive and well crafted album.

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

For fans of Krysthla, Boltthrower, GraVil, Kyrbgrinder, Megadeth, Bull Riff Stampede, Amon Amarth, Falagar.

Posted September 15, 2022 by jennytate in Uncategorized

Ryder – ‘Don’t Think Twice’

New release, ‘Don’t Think Twice’, by Queens, New Yorkers, Ryder was launched in July, on Bad Monkey Records, following previous release, ‘Lilan’s Lullaby’. This 4 track EP is created with the same rock spirit and energy.

Mastered by Roger Lian. Cover art, logos and photography by Joe Gorelick.

Sacrificed In Vain – Straight off, rocky intro, with a clear blues edge. Strong vocals. Good beat, with collective cohesion. Accessible rhythms. An anthemic mid-section. It’s an early blues rock energy, with fitting lyrics. A neatly wrapped package of old school sounds.

Unbound – Slightly heavier opening, featuring a stronger drum background. A curiously echoed vocal, with a different atmosphere. More percussive impact, but less melodically potent. Having said that, the riff solo, 3/4 in definitely makes a dent in the atmosphere. Intriguing war cries, at the end.

Last Ride – Riff and drum intro, spacing out the drum beats, a stronger bass line, assisting the blues mood. It does dip, a bit, with the tones of the first harmonies, but then picks it back up, with louder, more masculine sounding vocals and a tasty riff section, embedding the groove. Echoed vocals, again, gaining strength, as the track continues.

Ash And Snow – Bongo style drum hits intro, with a better vocal and rhythmic confidence and arrangement. This is definitely much more catchy, entrenched in a deeper and much better melody. Plucking the riffs, carefully and rhythmically, past the bridge and adding a great percussive drum beat. Here, the choral vocal harmonies come into play, fitting right into the groove, till the end. The finale needs a bit more content and emphasis, but it’s still a good strong sound.

Overall – ‘Don’t Think Twice’ is a very different sound to ‘LL’ and somewhat less powerful, in places, but taken on its own, its main strengths are in the grittier, more rhythmically and melodically entrenched sections. It does improve, with each track, with ‘AAS’ being the standout track. A case of just needing to clear all the other jazz out of the way and focus on what Ryder are best at – raw, rhythmic power.

8/10 ********

For fans of The Police, Bob Marley And The Wailers, Coronary, Skindred, Foreigner, Europe, Sting, Boston, Uriah Heap, R&B.

Posted September 13, 2022 by jennytate in Uncategorized

Urania Fantasia – ‘The Arcane Muse’

Step into another world. A rock version of the Marvel Universe, known as the LovAnaverse Music Universe, from which, has sprung a new artist, called Urania Fantasia.

‘UF’ is the character at the heart of the music. Combining a dramatic, vivid form of theatre, with symphonic metal, creating UF’s world of fantasy and enigma.

‘The Arcane Muse’, UF’s alter ego, is what creates the single’s title. This Diva of the other world is seen as an angelic, androgynous persona, bringing to light, the character’s background, as a backdrop to the stage presence.

The man behind ‘TAM’/’UF’ is counter-tenor, Pete Rawcliffe. The UK-based Love Anarchy Co, behind the LMU, was formed by composer, producer, William J Rogers.

Other artists on the LMU’s roster are Yarima, Flavour Nurse and Black Tongue Bile.

An official music video accompanies ‘TAM’. Available now.

The Arcane Muse – Opening onto a beautifully fantastical soundscape, featuring birdsong, gradually emerging piano tones and operatic vocals. Very cinematic, with a lot of atmosphere. Tinkling keys continue, leading into vitality fuelled riffs and theatrical lyrics. Fast-paced riffs race through the scene, with spaced out cymbals and impossibly high vocal pitches, impressively and delicately performed. The riffs pick up speed, creating a whirling effect. Easy to imagine the visuals, blending symphonics with speed and power, with a huge helping of melody, enhanced by the keys. A pretty much perfect, evocative track. The only improvement needed is turning the volume up, but otherwise, ‘TAM’ is a sparklingly vivid track, performed with the highest quality.

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

For fans of Aonia, Nightwish, Epica, Within Temptation, Midnattsol, Farseer, Ice Sword.

Urania Fantasia

Artist Intro video:

Posted September 12, 2022 by jennytate in Uncategorized

Yellow Dog Conspiracy – ‘Confrontation’

‘Confrontation’ comes to you from Lisbon, Portugal hard rockers, Yellow Dog Conspiracy; a quintet, featuring Andre ‘Vice’ Vicente, (vocals), Luiz Arantes (guitar), Nuno Correia (bass), Josh Riot (rhythm guitar) and Filipe ‘Animal’ (drums).

The debut album, released in 2017, follows the self-titled 2013 debut EP. ‘Confrontation’ was engineered by the prolific Brad Cox and renowned producer, Mike Clink.

Designed as a straightforward rock album, both traditional and uniquely new, ‘Confrontation’ comprises a range of moods and subjects, likely to hold something for everyone.

Since formation, YDC have opened for well-known bands, Harem-Scarem and Dan Reed Network and played in 2 global venues, in London and Madrid.

Each member brings a wealth of experience to YDC, all very early starters in music playing and performance.

Amongst their individual achievements are: opening for Bryan Adams, playing Rock In Rio Lisboa, clocking up in excess of 2000 live events, touring with Portugal’s biggest bands and playing lead guitar for Tony Carriera (Luiz); studying, both electric and double bass, at Hot Club de Portugal School of Jazz, the regional conservatory of music, Linda-a-Velha, being Yamaha endorsed (Nuno); featuring in Danger Danger and playing the Hard Rock Cafe, Lisbon (Josh) and performing, alongside Extreme’s Nuno Bettencourt, within his brother’s rock act, Maria Bettencourt (Filipe).

Influences include G’N’R’, KISS, Paul Gilbert, Nuno Bettencourt, Butch Walker.

The band title originated from Vice’s yellow labrador, which was always present, at rehearsals. After realising that their first choice, Yellow Dog, was already taken, they changed it to Yellow Dog Conspiracy and kept the logo, representing a dog’s paw).

A single, ‘Reaching For The Stars’, was launched in 2019.

‘Confrontation’ is available globally, on all online platforms. It’s a DIY release.

Additional contributions feature Vicky Marques, Ricardo Dikk, Luis Moreno, Joe Lee, Marcelo Aguiar and Joe Fortunato.

Recorded at Canoa Studios, Joe Fortunato Music and Black Paw Music.

Cover Design by Marcelo Aguair and Photos by Carlos Dourado and Rui M Leal.

Enough Is Enough – Exciting riff intro, stacked with power and fresh, exhilarating drum hits. Groove-heavy, featuring some very nifty, tight riff scales. Great melody, with relatable lyrics. Anthemic shouts add to the energy, completing the catch. Well-positioned ‘G’N’R’-esque spoken word sections. That chorus works well, together with the rhythms. It’s very ‘Knockin’ On Heaven’s Door’-esque, in its lyrical content and structures, but more upbeat and just as driven. A perfect opener. Brilliant vocal scale ascent, at the end, with that really catchy chorus).

Falling Into You – Careful, but very strong intro, building it, straight away, into a classic G’N’R’ sound, with a new, modern twist. The beats work so well, falling right into those powerful vocal melodies. Such an uplifting track, conveying real lyrical conviction. Great closing crescendo, featuring yet another G’N’R’-esque drum roll).

Break It Down – Opening via intriguing light percussion, then moving into a blues-edged groove, with some killer riffs. Protest, punk attitude and complexity, all wrapped up in sensual melodies). Here’s where Brad Cox’s influence becomes clear. Heavy drum hits, hard, driving rock riffs, fulsome melody and a truly delicious mid-section. Following that with funk-filled, tighter riffs, before moving, straight back into pure, sexy heaviness). Again, though it’s a different song structure, it’s so damn catchy, topped off with that final, upsurged riff)!

Cocaine To The Vein – Heavy drum blasts introing. Right into yet another powered melodic riff. Slightly resonant of Bryan Adams’ ‘Run To You’, only much heavier. Just as driven as the previous tracks). Impacting lyrics pound their message into you. Hugely sexy, with red-hot melody singed into it. Taking it up, around the bridge and opening it out, into a looser structure. Spacing out the vocals, pointedly driving the lyrics home. Echoed reverb crafts the ending, slowing it down, with a well-placed touch of distortion. The power just rings out.

Hello My Friend – A single drum hit leads into another volley of well spaced hits. Then a breathy verse, with slight punk echoes. Slightly darker, but sustaining the hooks. That wah section, at the bridge just seals the deal. Kicking it into gear, with those bouncy rhythms, coming next. Well written lyrics, with tight vocal harmonies, lending it a gritty edge, topping it off, at the end.

We Need A Change – An alarm beeps, at the intro, followed by a slower, sultry rhythmic melody. Again, those Bryan Adam-esque tones are audible. A more contemplative, but still dramatic track. It’s a steady number, just holding back the whole picture, enough to feed the habit. Just rising, slightly, at the bridge. Keeping it thought-provoking, yet heavy. The riff solo works well, 3/4 in. Gradually, fading it out, with ‘Coma’-esque drum beats, feeding the intrigue, further.

Don’t Lie To Me – Unexpected synth intro, moving down, into a rocked up groove. Fast-paced, hooky melody. Various styles are played out, here, including 90’s Brit rock, punk and pop rock, evoking clear atmospherics. A vague few moments, past the bridge, injecting a sense of intrigue as to the direction it’s heading in, but soon clarifying that, as it picks the sense of blurring the boundaries back up, at the end. A different, but still enlivening sound.

Skinny Little Man – A strong party rock essence opens and straight into a heavier refrain. Memorable pop rock chorus and effective, multi-coloured riffs. An easier lyrical slant, while keeping the gritty edge firmly embedded, underlined by those tasty, fast-paced riffs. Especially in the sharpened slide delivery, 3/4 in. Everything just works together, to show what can be done, with a whole bag of influences and styles, in the right hands). Great skidding closing riff).

One To Blame – A big hit of riffage intro’s, with equally big drum sounds, topped off with a cymbal flourish. Colourful lyrics. Tight and loose, in all the right places. It coasts along, on a bed of rhythm and groove. Another good blend of sounds and styles; this time, mixing melody with sentiment and rocky edges. Lively, yet nearing rock ballad territory – always a tricky thing to get right. A pumping beat makes it work, climbing higher. Meaningful lyrics, expressed with complete conviction.

Somebody Else – Similar propulsive drumming opens. Into a heavy groove, with a change of vocal direction, incorporating group harmonies, with tighter arrangements. Keeping the beat going. Very relatable lyrics, again, for many. Slide and groove characterises the mid-section, with a heightened riff pitch, soloing. Letting the groove find its own place and pace, adding a volley of multi-strained, vivid riffage and a touch of bounce. The band harmonies work well, with that chorus, sustaining the consistency and memorability. Steering into the skid, at the end, boosting the slide, with a drum crescendo.

Revenge – Racy rhythm opening. Straight off, it’s a cool, sexy groove, with a delicious heaviness and again, BC’s touch is clear. The fast pace fits the track well. More protest, with anthemic aggression. Slightly late Leppard-esque, in places. Riffs hitting higher pitches, from the bridge, gathering into a Slash-esque sound. Measured tones and rhythms, with darker vocal edges. So well harmonised. Thematically, spot on. Nailing that crescendo finale.

Overall – I could praise this, to the hilt, but I’ll settle for saying that ‘Confrontation’ is one of the hardest rocking, most driven, contagious albums ever to hit my radar. The high level of accomplishment’s audible, right from the start and the key is in how uniquely and infectiously each track’s crafted. YDC are the statesmen of rock and ‘Confrontation’, the evidence of that. Rocking both production and performance of the highest quality, it stands up there, with the best.

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

For fans of Tarraska, G’N’R’, Slash, Duff McKagan, American Terror, Bon Jovi, Santana, The Offspring, Green Day, The Wonder Stuff, Extreme, The Virginmary’s, Thirteen Stars, REM.

Posted September 11, 2022 by jennytate in Uncategorized