Archive for May 2018

Hell’s Gazelles – ‘Take Your Medicine’   Leave a comment

Following the single release, ‘Stone Cold’, from the EP, the full EP, ‘Take Your Medicine’, is now ready for imminent release. A more experientially crafted EP, ‘TYM’ pays homage to the greats, while emulating the new wave of rock talents. With major riffs, insane vocals and catchy choruses, it’s a tour de force of modern rock.

Lyrically original, with striking riffs and greater guitar involvement, ‘TYM’ is a truly equal band effort, dealing with current socio-political and personal issues, in a compact, yet complex way.

Andy Pilkington’s (Very Metal Art) artwork summarises the essence of the feelings behind ‘TYM’ in the Dr Strangechild persona, a theme further enhanced by the background of the insane asylum, over which he presides, in such a visually blatant terror inducing manner.

Give Me Something – Awesome riff and electrifyingly fast-paced drumming intro’s, more than ably assisted by those passionate vocals and high octane, rocked up melody. Hard, heavy, animal and enormously catchy. That’s a sound straight off the next new wave of classic rock compilation, for high-end rock mags. A band who truly belong in the classic rock arena. This is where true rock magic lies.

Out Of Time – Massive sound. Crushingly heavy riff intro, immediate rhythm and vocals designed just for modern rock. This is the new, old G’N’R’, filled with penetrating beat, hard edge, perfected sleaze melody and even the odd natural power scream in there. Ending on a defiant, tight drum hit, it’s a killer.

She Devil – Instant, hard and heavy drum hit intro. Getting right down into the rhythm, those vocals need no help at all. Just made for it. So catchy, there’s a slight southern rock feel to that sound too, expertly followed by that tasty rumbling drum section, leading right into another hugely lively, powered section, showing off CB’s vocals, to the best of their Seb Bach-esque abilities. Solid classic.

Stone Cold – Razor sharp riff intro! Burning hot, in flames of metal fire. That title’s so memorable and sung in such a catchy way. Space within the vocal sections gives the stunning accompaniments the chance to shine, whilst ensuring you never forget the astounding effect of the vocal notations. Absolute born rock stars. Standout track, in a standout EP.

Take Your Medicine – Bang! Startlingly alive drum intro. Crazy pace. Instinctive rhythm and sound. Humongous catch, rare vocal dexterity and an indescribably feel-good 90’s rock nostalgia about it. Seriously good R&R, par excellence. If there’s one band who should be on your radar this year, it’s Hell’s Gazelles.

Overall – The cream of the crop. Star quality, of the moment and made for rock longevity, this is the band that’ll take you back to the best of the past, while giving you concrete evidence that modern rock still matches that quality. ‘TYM’ is the solid proof of classic rock’s evolution and most importantly of all, that rock is not dead!

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

For fans of G’N’R’, Skid Row, Sebastian Bach.

http://www.hellsgazelles.com/
https://www.facebook.com/HELLSGAZELLES

https://www.instagram.comhells_gazelles
https://www.youtube.com/channel/UC8XAHLy0DaQWVxilkTPQ

 

 

 

Advertisements

Posted May 30, 2018 by jennytate in Uncategorized

Almost Dead – ‘Lay Me Down To Waste’   9 comments

Hard-core metal band, well-known in Northern California, Almost Dead are inspired by Megadeth, Metallica, Pantera, Slayer and Sepultura. They write songs with thrash groove built into the hard-core sound and truly give it their all.

Winning the 2007 Gorilla Productions ‘Battle Of The Bands’, they won the Tournament Of Champions. Having opened for M.O.D., The Dickies and Hostility, at Slims, The New Parish and The Metro Opera House, their 4th album, ‘Lay Me Down To Waste’, has now been released.

Dysmorphia – Gorgeously ominous steel string intro, with blazing drums in rapid succession. Haunting and fiery at once. A gothic background, to a full on live round of machine-gun fire. Really cleverly designed song structure, built around a massively heavy thrash mood.

Lay Me Down To Waste – A more refined and much gentler steel string intro. Moving, with perfect fluidity, into true heaviness, still well interspersed with softer sections. Brilliantly well-built momentum, always balanced right between light and shade and totally believable. Soul stirring stuff.

Shot To The Head – Battle round of drum hits intro’s and here’s where the real hard-core hits. Vocals taking it right into the pit and giving it every single ounce of raw passion and energy. Nuclear fuelled and hugely heady. Metal rage reigns in here and doesn’t let up. Explosive ending, of such power, you can see the blood spurt and feel the fangs, as the savage wolf of your imagination rips open your leg.

Why Am I Alive? – Moving in gradually, through a brief tunnel-esque sound, the hard-core heaviness comes thick and fast. Beating drums, rabid vocals, speeding pace and riffs so heavily energised, you can lose yourself in them. This here is real metal therapy.

Alive In You – Beautiful acoustic intro, palpably haunting, grit filled vocals and awesomely profound lyrics. There’s no way you can hear this without feeling it. Some truly gorgeous blues riffs twang their way through to the absolute depths of you and you just feel it. It’s as long as it needs to be, to get its message through. Brief, but unforgettable.

All That I Despise – Creepy riff intro, held so well and further enhanced by that equally creepy whisper. Exploding into angry life, pulsing with audibly justifiable rage. Electrifying, acute and shocking, in its short, but pointed delivery. A majorly powerful blast of reality on the darker side of life. Testament’s ‘The Haunting’ springs to mind. Echoes of ‘Alone In The Dark’ are present there too.

Deadman – A live fire of drumming again, throwing out the power, with mighty aggression. Real hard-core stuff, once more, like a much heavier RATM, with Testament-esque riffs and Slayer-like edge. So brief, it just pounds out the anger, in one short burst.

Trash Talk – Galloping intro, chucking all the rage they can muster down, into the pit. Doing some great gory stuff with the vocals, so blackened, you can hear the sewage spilling from a drain like mouth. Maximum volume, amped up to the top of its power. Another snatched glimpse of pure, unadulterated rage.

AWOL – Booming drums intro, accompanied by a slice of classic riffage. Unbridled anger takes hold of those lyrics, driving them on, to the corner of the precipice. Very Pantera-esque here, reflecting back the strains of ‘Domination’, before it ends, in yet another blur of edgy aggression.

Kill Or Be Killed – Blasting out the molten metallic energy, at full pelt, this has got to win the prize for energised performance. This offering even evokes scenes of late-night car chases, with gothic horror atmospherics interlaced within. Yes, there’s a repetitive brevity to most of these tracks, but so much raw energy and power is packed into them, that it just doesn’t matter.

Overall – A slab of steel driven rage and blood spurting horror, like you’ve never heard before. Atmospherically dense, with visual assault and gothic mind terror. Almost Dead are masters at brevity of power. ‘LMDTW’ multiplies the energy and strength of even the heaviest of metal albums, leaving you terrorised, traumatised and gagging for more.

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

For fans of Testament, Slayer, Pantera, RATM, Metallica.

http://www.facebook.com/bayareahardcoremetal
http://www.instagram.com/almostdeadband
http://www.youtube.com/almostdeadvideos

 

Posted May 28, 2018 by jennytate in Uncategorized

Arapacis – ‘Deja Doom’   8 comments

Self produced, at Arapacis Studios, 2017-2018, by Jerry Fielden, brand-new offering ‘Deja Doom’, from Arapacis, is a 4 track EP, minimally mastered, to maintain originality of sound.

Artwork also by Jerry Fielden, except for the front cover, by Shelle Macpherson.

Consequences Of Dreams – Very bass heavy intro, Sab-esque, ‘Iron Man’ like drum sound and a clear doom overtone. Unusually refreshing feminine vocals, revealing a gothic edge and a notably pleasant sharpness to the lyrics. An audibly effective stripped back sound to the accompaniments, bringing a freedom within it. Surprising gore vocal finale, adding another angle. Generally, it’s a novel approach, making for a versatile outcome and a comfortable listen. Relieving, even.

Drop Of Hope – Great exciting whammy style vibrato riffing opening! Truly original. Again, the acuity of those vocals gets straight into it, bringing in an unexpectedly grimy edge to the line endings. A really colourful, multifaceted approach to the guitar work in here, incorporating a combo of wobble, paradiddles, twiddly fret styles and straight out, sharpened metal riffs. Taking it up and bringing it down, in all the right places, considering that this is a more basic work, it still includes a lot of variety and if anything, opens it up, becoming all the more freestyle for it.

The Green Fairy – Good, clear, confident drum intro, asserting its place and creating a darker sound, together with the bass. The low, rumbling heaviness of the latter accentuates the pointedness of the vocals, admirably. A decent mixture of well timed gory darkness and sweetness of light peppers those lyrics and a simple, but intensely focused bass line rhythm provides the core. Ironically intriguing sound, given the title, but all aspects are audible, through the changes in melody, tone and cadence. Even visual, to some extent. Ending on a simple section and a lighter feel, the imagery’s best evoked here.

End Of The Line – A lighter sense to this intro, combining heavy and light percussion, with a softer melody. Vocally softer aswell. More of a mellow tone, generally, yet still incorporating some heavier elements, in places. Interestingly fulsome sound, given it’s built around a more basic structure. Quite laid-back atmosphere, generally, throwing in a few electrifyingly lively riffs here and there. That’s the hand of experience coming out in that riffage. It’s automatically audible. Far more instrumental basis within here, but the vocals are no less powered, for that. In fact, that voice does horror metal well. A well-rounded track, covering all angles.

Overall – An all-round, relaxed, laissez faire approach to an EP, of quality, rather than quantity, which still eclectically performed, delivers some novel methods and unique features, within capable, accomplished hands.

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

For fans of Vampyre Heart, Voodoo Blood and Kyuss.

http://www.arapacis.rocks/
https://www.instagram.com/arapacismtl/

https://www.facebook.com/pg/AraPacis/
https://www.youtube.com/arapacismtl

 

Posted May 27, 2018 by jennytate in Uncategorized

El Camino – ‘Cursed Congregation’   7 comments

A free and unrestrained band, unencumbered by conventions and genre boundaries, Swedes El Camino have taken inspiration from their native home and its physical environs. Founded in 2003, every work, subsequent to their debut, was produced at Hobo Rec, by Ulf Blomberg.

Labelling their style, heavy doom metal darkness, with some black metal elements, ‘Cursed Congregation’ certainly lives up to this. A powerful presence on the live scene, their shows so far have included: Metal Magic (Denmark), Morkaste Smaland (Sweden), Rock And Art Weekend (Sweden) Fests and also club shows, eg, Loppen (Copenhagen), Pussy A Go-Go (STHLM), Club Dissonans (JKPG), etc. They commit to their performances, with steel determination.

‘Cursed Congregation’ is available now on Night Tripper Records.

Into The Dark – Unexpectedly jaggedly edgy dark intro, with pouring rain accompanying the doom instrumentals. Very deathy vocals, a notably sinister atmosphere and a clearly blackened overtone. Slow, sluggish pace, as is typical doom and an equally paced fade-out riff. Definitely heavier, but far less thrashy than expected. The rest awaits.

Intent Of Man’s Heart – More enlivened, rumbling sound to this and very slightly more melodic. Leaning towards a more intriguing angle, now injecting some Viking aspects, with tribal elements and a hypnotic, trance-like section, continuing the same flavour, till the end. So there is versatility and even an evocation of witches brew about its gothic leanings.

Cursed Congregation – A stronger tone and physicality to this intro. Very black in nature, again, especially lyrically. It definitely depicts a very strong picture of its title and related themes. It’s certainly powerful. Strategic use of light percussion, amongst the overriding heaviness and the melody increases just before the end. A fitting close and there’s an easy, natural flow about it, brought to life, by the strong closing riff.

Penance Upon The Pyre – Straight in there, with a riveting intro, bringing the drums forward and emphasising the beat of the rhythmic focus. Quite gory lyrics, vocalised in that same gory sense. Very visual and again, the melody enters later, as it’s ending. Witchcraft fans are likely to get on with this and in particular, fans of the track of the same name.

Haexkraft 1 Domens Hand – Much more explosive intro, throwing a world of colour onto the landscape. Vivid use of earlier melody, more inventive arrangements and varied accompaniments add a richness to this. Ending on a livelier, higher pitched riff, this one will possibly make more of an impression.

The Crooked Wand – Intensely doomy intro! Almost funereal, in its darkness. Louder and fuller, the riffs are the biggest focus here. This track really brings them to life. A very slightly Viking-esque edge creeps in again, towards the end and that closing riff actually replicates the tone at the intro to Gun’s ‘Word Up’, or as near as dammit. So fellow fans will bask in that ending).

Haexkraft Il Elin – Booming drum and bass intro, sliding easily, into a melodic riff section, before vicious vocals take centre stage. Pace increasing as the riff solos come into play, intelligent pace and tempo alternations create a more diverse, yet cohesive sound. Again, that palpably soul piercing riff closes the track. There’s an impressive fluidity to the flow of this and especially, the combo of solitary and cohesive sections. It’s a very focused and well crafted piece.

Vengeance – Cymbal hits intro, followed, with instant timing, by full power accompaniments. The monster death growls are back and stronger than ever, it seems. Faster pace to this and an altogether fuller, more voluminous and voluptuous construction. More aggression, more darkness, more everything.

Stars And Silence – Another banging intro, opening onto a backdrop of blackness and doom. A very simple, but powerful rhythm invades this. Mid-paced beat, easy to follow and the general tone and atmosphere could possibly be called a ‘terror-trove’ of darkness and gloom and a very effective one, at that.

Ordeal Of Faith – Gradual, grungy fade-in riff, accompanied by heavy and light percussion, then treacle black vocals and a noticeably Carcass-esque section. Interrupted by a devoutly religious voice-over, prior to more darkly heavy-metal. Fading melodic riff closes. Another palpable imprint leaves its mark.

Haexkraft III Vaegs Aende – Gothic atmosphere prevails once more, as a tribal beat consumes the song and it’s being. Creepy voice, pleading to be taken by Satan, in the midst of entrancing rhythms. A more simplistic rhythmic centred arrangement dominates and closes this finale and it’s all a bit too dark and brooding, in the end, so it’s almost a relief, but it is undoubtedly skilled and impressively focused.

Overall – A patently dark, funereal offering, with enough gloom and doom to satisfy any gothic fan or funeral cortege. Unmistakably talented and faultless delivery. Especially impressive focus and driven dedication to darkness, but you can have too much doom and this leaves a lingering air of despondency.

8/10 ********

For fans of Carcass, Witchcraft.

http://www.facebook.com/elcaminocvlt

Available now, via Night Tripper Records.

  

Posted May 20, 2018 by jennytate in Uncategorized

MaterDea – ‘Pyaneta’   16 comments

Currently, one of Italy’s most famous bands amongst the Pagan and Celtic genre, founded in 2008, from a collaborative project between 2 of its members, from which, the band name emerged, ‘MaterDea’ was also the title of the Celtic soundtrack for a brief film, on which the collaboration was based. In itself, ‘MaterDea’ stems from a collection of influences, of various origins, surrounding the concept behind the band.

Influenced by Genesis, Jethro Tull and Led Zeppelin, their sound is best summarised as neo-classical light power metal. Devised as strong, spiritual music, with fantastical elements, it succeeds in this colourful purpose. All 7 band members bring classical training to this vibrant sound. Having 4 albums under their belts, to date, (‘Below The Mists, Above The Brambles’), 2009, ‘Satyricon’ (2011), ‘A Rose For Egeria’ (2014) and ‘The Goddess Chants’ (2016), ‘Pyaneta’ is their 5th and is due for release on June 8th in Europe and July 6th in North America, via Rockshots Records. (Released on 8th May in the UK).

Back To Earth – Whale song opens onto a sci-fi-esque, otherworldly narrative, gradually exploding into full pelt metal. Memorably powerful feminine vocals, much in the vein of Lacuna Coil, Nightwish and Delain. Dealing with the themes and lyrical duties with complete ease, there’s no hesitation, as she just moves straight into it, swimming through and with it, easily. A notable fluidity encapsulates the track, holistically, as it ends on another voice-over, extolling love as an immediate and central panacea to all.

The Return Of The King – Ethereal beauty haunts this intro, incorporating a combo of light sounds, before evolving, once more, into powerful metal. Again, it just flows, so naturally. Vocally and instrumentally, it is one. Pure melody. Some very intriguing accompaniments in there. Great fast pace, gathering momentum, as it goes, eventually ending on a bestial whale cry, amongst the sound of breaking glass. It’s unique and capably performed.

One Thousand And One Nights – An Eastern vocal intro’s, on to rapidly deployed heavy-metal instrumentals. A quickened pace pushes it along, purposefully, as its power grows. More than ably assisted by those driven riffs. Ending on the Eastern vibe, to which it returns, a world of power infuses its sound, as that tight, determined drum hit closes it. Strength in spades and an individual touch, to go with it.

Pyaneta – Introing with a heartbeat and an underwater breathing sensation, it moves in, very carefully, with the accompaniments, as there’s a very slightly more restrained sense to them, in places, here. Any fan of operatic metal’s going to get on well with these vocals and that sax is just sumptuous. Filled with mystery and enigma, it’s a thrilling delivery and full of surprises.

Neverland – Opening with a flock of seagulls in the background of the sound of manual labour, planing off and soaring into vivid melody. Palpable accompaniments and magical sounds interspersing it. Loaded with catchy rhythms and melodies, this is a standout track, for sure. Particularly, where the finale’s concerned. There’s enough power and momentum in the finale alone, to fuel any fire of metallic passion.

S ‘Accabadora – Male vocals introing here, in a worshipful tone. Celtic sounds follow, before and surrounding the feminine, lighter vocals. Heavily melodic, with a lyrically narrative style. Combining light and shade, soft and heavy, as the powered accompaniments flow in and out and around the vocals. There’s just so much beauty pulsing with life and energy, throughout this and it closes on a strong drum finale. Just beautiful.

The Legend Of The Pale Mountains – Opening onto an aural scene of mediaeval forests and lakes, complete with violin and accordion, to accompany it. The electrifying riffs hit at that point. Gentle, feminine vocals join them there, telling their story, till the full on instrumentals take over, on and off. Eventually ending on a diminishing fade-out, it’s said all it needs to.

Legacy Of The Woods – Birdsong and an aura of enchantment intro’s, replaced by tuneful acoustic riffs and beautifully melodic vocals. Heightening the power and heaviosity, it races along on a thread of metal gold. Spinning a tale of old world mystery, as it speeds along its path, it’s just full on melody till the end, when the birdsong returns. Gorgeous.

Coven Of Balzaares – Thunder intro’s, a piano section, mysterious children’s laughter and a heavier accompaniment and then masculine vocals enter. Seeming to blend in with the feminine ones, at certain points, the masculine aspect does gain in strength, though still interweaves with the feminine. Lots of soaring tones in here, picking up more power, as they go. Definitely a greater mystique to this, generally.

Metamorphosis – Sounds of tinkling chimes and a short voice-over, before the instantly involved vocals come into play. More than competently supported by big instrumentals and an air of affecting passion and power. So melodic, in fact, it’s the melody that drives this, all the way and one way or another, it’s going to leave a lasting impression.

Bourre del Diavolo – Wolves howling at the outset, the pumped up accompaniments get straight in there, with a real Celtic flavour and a hurried tone and rhythm. Sharp, affected male vocals narrate their story, in another language, complete with evil laughter. Brief female vocals play a part, before being drowned out, by the excitable male and it closes on a child’s mobile, playing a nursery rhyme. Odd way to finish, perhaps, but memorable, regardless and maybe, that’s the point.

Overall – I have nothing but compliments for ‘Pyaneta’. It’s a blissful album, from start to end. Narrating a wonderfully fantastical tale, with all the skills and passion inherent within it. A metallic, mythological storyboard, combining old and new world wonder is the closest summation of this standout album. A definite example of all killer, no filler, with mysterious touches, accentuating the metal.

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

For fans of Lacuna Coil, Nightwish, Delain, Frost Giant, WYKAN, Within Temptation, Pagandom, Satarial, Xael, Northhammer.

Pre-order link: http://bit.ly/Pyaneta_CROWDFUNDING

http://www.rockshots.eu/
http://www.materdea.com/
http://www.facebook.com/MaterDea

  

Posted May 17, 2018 by jennytate in Uncategorized

Hell’s Gazelles – ‘Stone Cold’   4 comments

Originating from Oxford, quartet Hell’s Gazelles now offer up the single ‘Stone Cold’, from their brand-new EP, ‘Take Your Medicine’, released 27th July 2018. Five tracks of new wave heavy rock, with traditional influences. H.G. have so far supported Black Moth, The Treatment, Desert Storm and also played Bloodstock Open Air and HRH Road Trip, etc. Fronted by Cole Bryant, engineered at The Ranch Production House, by Chris D’adda (Wayward Sons, Toseland), production and recording and Neil Kennedy (Creeper, Milk Teeth), mixing and mastering.

H.G. have created an edgy classic rock and metal sound. The band’s overriding aim is to perfect the art of songcraft, bringing that out in their music, along with their passion and driving influences, both new and old.

Marking the EP release, with a one-off local show, HG will perform at The Bullingdon, Oxford, on Friday 20th July. To hear what John Challis (a.k.a. ‘Boycie’, Only Fools And Horses, The Green Green Grass) has to say about the event and EP, check out YouTube. (Link below).

Vocalist Cole Bryant refers to his lyrics as having double meanings, to reflect the truths and realities of all arenas of life, especially at this point in time.

In line with the engaging, irrepressible performance of ‘T.Y.M.’, Andy Pilkington, of Very Metal Art, does the duty of featuring ‘Dr Strangechild’, the eccentric scientist, within the cover. Svenja Block Photography.

Stone Cold – Massive intro! Forceful, impacting and wildly catchy. Instantly, you can hear that those vocals were born for this track. It’s very true to say that Cole brings it to life, coming off the line endings, with hugely powerful expression, like few can replicate. Mega drumming stamina characterises the whole song and particularly, the finale. Hard grooving riffs really get to work, laying down the hard-line rock, throughout and the rhythmic beat’s infectious. This is true rock, at its best. Completely at home with itself, it screams with perfect synchronisation and there’s not a note out of place. Welcome to hard rock heaven. Buy this. Buy it now. The next Seb Bach has entered the room.

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

For fans of all great 90’s rock and metal.

https://www.youtube.com/watch?v=yTVmWtmK5Xk (Official Stream – ‘Stone Cold’).

Event Ticket Link: http://www.wegottickets.com/event/439464

Boycie’s feedback: https://youtu.be/H4HLAryMHw

http://www.hellsgazelles.com/
https://www.facebook.com/HELLSGAZELLES

https://www.instagram.com/hells_gazelles
https://www.youtube.com/channel/UC8XAH_y0DaQGWVXiHBlKTPQ

 

Posted May 14, 2018 by jennytate in Uncategorized

IGNITOR – ‘Haunted By Rock & Roll’   5 comments

Original heavy-metal giants IGNITOR have now launched the official video for the title track from current album release, ‘Haunted By Rock & Roll’. Produced by guitarist Stuart ‘Batlord’ Laurence, featuring Lydia Gallardo and her husband ‘Hands’.

The album on which it’s based is their 6th album release, officially launched on November 24th, 2017, via EMP label group/Ariescope Records. It’s the 4th video from ‘HBR&R’, after Hatchet (‘The Ballad Of Victor Crowley’), ‘No Sanctuary’ and ‘To Brave The War’. Those last 3 are viewable on YouTube.

EMP label owner Dave Ellefson (Megadeth) acts as executive producer on ‘HBR&R’.

Founded in 2003, by Stuart ‘Batlord’ Laurence, guitarist and founder of ‘Agony Column’ and ex ‘The Offenders’ drummer, Pat Doyle, IGNITOR’s mission was to return to genuine, old school heavy-metal and bring that sound back home to Austin, Texas.

Standard line-up changes resulted in Jason McMaster (Watchtower, Dangerous Toys, Broken Teeth, Evil United) taking over on vocals, with his first outing on ‘Spider Queen’, back in 2007. Well-known in the Texas metal scene, Jason is considered a veteran of metal.

By 2015, IGNITOR had brought guitarist Robert Williams (Witches Mark) and bassist Billy Dansfiel (Agony Column) on board. Thus began a 3 year promo drive, performing live, with the new line-up, supporting legends such as, Grim Reaper, Helstar, Jag Panzer, Raven and Cage. These new, enlivened tracks would form the album, ‘Haunted By Rock & Roll’.

IGNITOR will appear at Chicago’s longest standing heavy metal Fest, ‘Alehorn Of Power X’, on July 28th, at ‘Reggie’s’, Chicago. This is set to be the 10th presentation of the event, which has aimed to promote the cream of the heavy-metal underground, since 2006.

Haunted By Rock & Roll – Banging, loud, instant catch, with consummate, high-level drumming, classic metal visuals and all the surrounding gothic darkness and implied threats to prove it. Great, fast-paced, highly melodic riffs and top-notch production. The sound quality rocks hard, as do the satanic lyrics, well honed power screams and carefully, tacitly designed scenes. Just enough mild horror-esque anticipation to keep you guessing, on the edge of your seat and a strong air of absolute metal professionalism and supremacy, marrying sound and visuals well.

Overall – A classic heavy metal video, with ‘headbanging, crowd puller’ written all over it.

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

For fans of old school greats, such as Alice Cooper, Ozzy Osbourne, KISS and Skid Row.

Video link for ‘HBR&R’: http://www.youtu.be/9M6X8idmljl

http://www.youtu.be/odByb4bYNMo (‘Hatchet’)

http://www.youtu.be/P2ifJm0QjcU (‘To Brave The War’)

http://www.youtu.be/yy6pCtd235M (‘No Sanctuary’)

http://www.ignitorband.com/
http://www.facebook.com/IGNITOR.METAL/
http://www.twitter.com/IgnitorMetal
http://www.reverbnation.com/ignitor
http://www.bandsintown.com/Ignitor

Posted May 13, 2018 by jennytate in Uncategorized