Archive for November 2016

Muddy Moonshine – ‘Muddy and Wild’   Leave a comment

Muddy Moonshine’s debut album, ‘Muddy and Wild’, is released in December, via Secret Entertainment.  Founded in 2014, they’re an acoustic blues ensemble; playing a combo of covers and original material.  Their self recorded and published EP, ‘Distilled’ was produced in Finland, in 2015.  As a result of band evolution, increasing gigs and line-up changes, new and different material was written.  The record deal with SE led to the debut album being produced and a new vocalist joining the band.  Their single, ‘This Town Of Mine’, was released on October 13th and is available through spotify and youtube.

Back In Jail – Heavy blues chord opening, with a tasty edge, moving steadily into a smooth, hard blues riff and vocals to match.  Rhythmic, visual and lively, mid-paced blues fayre, boding well for the following tracks.  A positive intro to a promising sounding album.

Drunk As Fuck – That’s quite a strong intro, harbouring blatant influences from combined rock genres, working well, to create a successful modern blues rock project, well worth a listen.  An easy listening component is clear in here and the slowed down slide guitar closing section clinches it perfectly.

This Town Of Mine – Nice touch to this intro, bringing in a country rock aspect, with a catchy emphasis.  Reminders of Puddle of Mudd’s, ‘Bring Me Down’.  Unusually noticeable strong lyrics, somehow not quite gelling with the upbeat melody, but often a brave effort, to incorporate such emotive material anyway.  It’s somehow relentlessly cheerful, even in the face of such dark subject matter and if one thing stands out, it’s the hooks, of which there are plenty.

Moonshine Man – Very lounge rock style, instrumentally, at least.  More of the slide guitar emphasis, with an audible nod to the Rolling Stones,’ ‘Little Red Rooster’, which does hold a certain catchy appeal, it must be said.  A laid-back approach permeates this and you’ll remember the deep, gravel throated outro, for its manly quality, which in itself, stands out a mile.

Bottle Of Love – Aha! Picking up the pace now, there’s an evident early R’ and R’ feel.  In this case, it’s lyrically and instrumentally cohesive.  A very visual one, reminding you of old-fashioned dance halls, 50s programmes and the roots of blues.  As hesitant as I am to describe it thus, it is kind of … nice.  Especially with that gently strummed finale).

Funkytown – Okay, a very slightly darker, but somehow, easier sense to the movement and tone of this, so much so that you do actually visualise it as a climb down from somewhere above, into fun, eased back territory.  There’s a certain mix of sounds and styles in here, which seems to blend punk, funk, soul, psychedelic, blues and whatever alternative strands you want to throw in.  It’s likable, light-hearted and memorable.

River – Lovely riff intro, with a really tasteful, appealing sound.  Slight sense of Whitesnake’s ‘Till The Day I Die’, which seems to fit well into the background.  Quite visually evocative themes, a pleasantly paced track and generally, it’s easy to follow.  Post mid-section, you’re going to find yourself joining in with the catchy chorus, in spite of yourself.  It’s a really enjoyable track.

Blued Steel Blues – That’s how you do it!  Opening with a very sexy sounding slide riff section, getting into its stride, from then onwards.  There’s an essentially natural feel to the whole slide rhythm of this track and it really gets inside you.  Some truly great riffs, the vocal strength really comes into its own here and there’s just an overall fun feel.

Russian Pussycat Blues – Interesting deviation from form, initially, prior to resuming the typically rocking rhythm.  Continuing down that same rocky road, it’d make a good dance number.  Some pleasant slide riffs in there, even if it does have a somewhat unusual, not to mention abrupt ending.

Stomp – Gorgeous full volume slide intro!  So catchy, it rocks, from that aspect alone.  Varied pace to this one, increasing as it reaches the point just prior to the mid-section.  Slowing down again, following it and focusing wholly on the steady rhythm, till the end, in an almost hypnotic sense.

Succubus – Another enjoyably slide guitar focused track; intriguing lyrics, though you could say, typically bluesy.  It works, however.  It’s a classic note to end on, really – the hate and resentment filled lyrics, which somehow, just work, to create that experiential life emphasis, so beloved of the blues genre, expressing, through the music, the essence of hard-won lessons.

Overall – A decent slice of blues rock, well worth a listen, with plenty of yummy slide guitar and although repetitive, in places, it doesn’t seem to matter.  It’s still a laid-back, relaxing listen, with nothing to dislike.

7/10 *******

For fans of blues, groove, R and R, Southern rock, country rock and good old-fashioned rock.

Posted November 8, 2016 by jennytate in Uncategorized

Nukem – ‘The Unholy Trinity’   7 comments

Warwolf – Helicopter propellers introing this, making for a totally unique listening experience, before making way for the thunderously heavy metallic track.  The immediacy of this catchy, ground shaking sound is affecting, memorable and immense.  ‘Heavy Metal Killers’ would be a perfect home for this.  Steel catharsis, right here.

Evelyn’s Awakening – Horror style intro, thankfully, soon moving into a fast-paced metal rhythm, reminiscent of Altheniko’s ‘Feel the Power’.  Just a really classic NWOBHM sound and feel, to melt the hearts of even the hardest metalhead.  It’s simply full of hooks and you just can’t fail to love it.

The Atomic Age – Wow, that is one gorgeous, stunning intro.  Blending acoustic, with gradually amped up volume and a subtle darkness on the periphery; it all combines to make this a truly appealing track.  Growing harder, heavier and edgier, with a steamroller of a chorus; breaking down into all-out headbanging territory.  There’s a really strong anthemic metal emphasis, with a pure, ‘Tallica, ‘Creeping Death’ drum roll to finish, which actually succeeded in knocking one of my pictures off the wall, two rooms away!  That’s what you call metal!

The Deceiver – Fuck me, that’s one bloody powerful intro.  There’s no arguing with this!  It’s a drum and riff opening of such mind blowing strength, it gets your full, undivided attention and maintains it throughout.  This whole track is just an absolute blaze of searing aggression, on all fronts.  The energy is something else.  A total riff, drum, bass and vocal fest, from start to finish.  If this doesn’t get you moshing, till the last, I don’t know what will.

Bloodseeker – A blast of drums, an epic power scream, a blitzkrieg of riffs and a sheer mountainous effort of will, resulting in a molten landslide of metal.  This is one almighty avalanche of steel.  You wouldn’t want to be skiing on the same slope as this enormous weight of power.  It’d swallow you up, in its depths and consume you, before you hit the bottom.  Magnificent.

TV Crimes – The full volume power’s still turned up to the max and it ain’t stopping for anything.  Giving it everything for this Sabbath cover, they show just how capable they are of paying homage to the Godfathers of Metal and doing them full justice, with an equal strength to that embodying their original material.  It storms the show, aswell as stealing it.

D.O.I. – Blitzing right into the fray, with massively wilful metal abandon, it’s just another steady flow of steel strength and metal rain, that’ll take you right back and put an adult spin on the most fun, frollicking, water fights you had as a kid, during street party celebrations of torrential rain storms.  Imagine replaying them as adults, with metal soundtracks blasting out, at full volume, from every house in the street, devil horns in every window and all the neighbours dressed in black.  Now picture the metal, as the rain, coming down from the sky, in torrents.  That’s how vivid the sense of D.O.I. is.

Lethal Injection – If it were possible, it gets even louder, stronger and more pronounced.  An all-out metal assault.  One thing this band is bestowed with is an endless, boundless energy and passion for their music, permeating every song on this album.  There’s just a sheer powerhouse of effort and will, carved through every single nuance and note.  It’s an energy store that’s hard to match, impossible to forget and leaves everything else standing.  Their complete and utter driven focus is out of this world and hooks you in the most addictive way.

Lucida Sidera – Here’s yet another uniquely magical sound, combining melody, softness, strength and intensity; this time, in an instrumental; hypnotic and mesmeric, in its otherworldliness and its indefinable beauty.  There’s a cleansing feel, cathartic, beyond measure.

Nukem All – Talk about going out on a high!  This holds all the keys to doing just that.  A real timelessness to this, in the sense of reminding you of all your most beloved classic old school influenced thrash, speed, melodic, power metal bands and all that you love about them.  This very sound, feel and emphasis is how and why metal never dies.

Overall – An indescribably massive force of metal magnetism.  One listen and everything else is blown out of the water, in an instant.  There’s a real rarity to anything so consistently powerful, energised and loud, with such high quality production, that the passion shines through so clearly and profoundly.  An aural form of tunnel vision is induced, in which the raw, fun element of the music and its lively performance becomes your sole focus.  A difficult, even near impossible, thing to achieve, ordinarily, but Nukem do it, with effortless capability.

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

For fans of the finest arena rock, anthemic metal, speed, power, thrash and NWOBHM. 

Posted November 7, 2016 by jennytate in Uncategorized

Fusion Bomb – ‘Pravda’   12 comments

Fusion Bomb, from Luxembourg, play old school thrash, with some deathy aspects.  Formed in 2010, since then, it’s evolved, to the current point, at which, ‘Pravda’, the debut album, is being released.  ‘Pravda’ is a lyrical, thematical take on the Soviet Union’s history, delivered in a humourously analytical context.  It promises loads of fun melodic thrash, in an old school spirit.

1986 – Well that was different!  Slight delay, followed by an orchestral performance of patriotic music, with news flashes and sirens in the background, creating a very slight nod to Disturbed’s ‘Indestructible’, in the closing section.  Nothing like a bit of intrigue, to get your senses working.

Powersource – If ever there was a starker contrast to the intro track, it’s this one.  It couldn’t be any thrashier or heavier, if it tried.  Speed riffs, deathy screams, and raw, powered aggressive vocals; there’s an instantaneous delight to my ears, it has to be said.  Hard, driven and throwing in some truly fabulous riffs.  Ending on a barely audible light percussion hit, after the raging storm of drums throughout; there’s no arguing with the starkly obvious fact of heaviness permeating.

Pravda – Another evidently Soviet theme to this intro, before seguing rapidly into a truly metallic storm, to excite the sensibilities of any true metal devotee.  An unmistakable thread of metal attitude, persistence and absolute, determined conviction runs through this.  Very pleasing to beholders of the faith.  You can definitely hear the tongue in cheek presentation of metal overtaking Soviet restrictions and it’s refreshing, in its own way.  Ending with a battleground sound, from which the metal never dies; it’s very apt.

On The Fields Of Katyn – Bang!  Crash!  Lightning flashes of thrash metal abound.  Touches of extreme, moving so fluidly, from that, back to Exodus style performances, vividly reminiscent of ‘War Is My Shepherd’.  Cohesive, uplifting, focused and cause driven, there’s nothing to dislike.  So heavy, your floorboards would cave in, if this song was dropped on them.

Masses Breakfast – Fuck!  That’s another doom laden heaviness opening.  An evilness infiltrates the feel of this, worthy of the darkest Satanic metal.  Mosh pit territory, with well-placed sublime riffs and a thunderous effect, to compete with Thor himself.

Beertroopers Of Death – (Bonus Track) – Laying down some real thrash material, right from the outset; even the most restrained, self-contained metaller would obey the urge to get in the pit.  This thunders along, to the end, where it closes on an animalesque howl of death.

Overall – An energetically short burst of politically driven thrash metal, to blast and singe its way into your brain, where it will stay.  Hard to fault, immaculate delivery and fun performance.  It gets my vote.

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

For fans of Exodus, Testament, Slayer, Anthrax, high-quality thrash, extreme, death, doom, pagan, gothic and satanic metal. 

Posted November 5, 2016 by jennytate in Uncategorized

Venus Rising – ‘Waterfall’   Leave a comment

Slow, steady start to a softly sung acoustic folk rock track, with an initially darkened edge and a meaningfully spiritual flavour.  Becoming gradually lighter in tone and feel, revealing a clear link to the natural world, the lyrics will intrigue and delight those of a fey like, alternative nature, as will the beautifully fitting closing section, which could easily be straight out of a fey folk film, giving the striking imagery it evokes.  Mysterious and pleasantly ‘other’.  Dip into this for some gentle nature folk rock therapy.

7/10 *******

For fans of fey, alternative and natural strands of folk rock.

Out now on Global Path Records.



Posted November 3, 2016 by jennytate in Uncategorized