Archive for June 2018

Not My Master – ‘Disobey’   1 comment

Based in Texas, extreme groove metal band Not My Master have just signed an international deal with Extreme Metal Music/Rockshots Records. Founded in 2016, the 4 piece rapidly progressed within their local El Paso scene. A violent combo of thrash, groove, extreme metal and a hint of southern rock, ‘NMM’ is very much a local initiative. Inspired by classic greats such as Pantera, Nirvana, Eyehategod, etc, they’ve so far played alongside the likes of Death Angel, Soulfly, Nile, Rotting Christ, LA Guns, Kyng, Lord Dying, Odin, Vince Neil (Motley Crue), Forevermore, Kingdom Of Giants, Darkness Divided, Master and Childbite. Their US tours to date include renowned venues, The Whisky a Go-Go and Viper Room, L.A.

Released on 6th July 2018, the 7 track EP, produced, at CMC21 Productions, Santa Clarita, CA, by Chris Collier (Korn, Prong, Fear Factory), includes a cover of Danzig’s ‘How The Gods Kill’, performed with guest guitarist Matt Xero, from Murder FM. Original writer – Glenn Danzig.

Recorded at Dicodec Music Studio and Sound Stage 9, El Paso, TX.

Acadence – Drumming assault intro’s, opening the way for a primal battlefield metal attack. Crunching riffs, steel as fuck, vicious vocals and hellishly heavy rhythms sear your skin. Verging on noise territory, throwing in some blacksmith noises, intensifying the metal some more, this is not for the fainthearted. It’s raucous sound and almost blackened violent aggression will leave their mark, heavily. I think my brain’s bleeding.

Revenge – Banging, dense, leadened intro. I’m picturing a fight in a scrapyard, in the dead of night. Here, the vocals are actually mellower, in places, but that’s only a background impression, around the chunky heavyweight stony thud of danger. Short, but arresting.

Where’s God Now – Steel string riff intro, taking it in a more melodic direction, at least. Now, the violence takes on a slimier, sleazier edge. Those drums continue to lay down a hardened baton of pure steel, while the lyrics grow frenzied and this time, the beat displays a catchy rhythm, surrounding the steady hands of doom. Slide riff closing, it’s definitely memorable and does at least, provide a brief window of respite from the ceaseless mortar attack of the previous tracks.

Morning Star – Ooh, enigmatic intro, conveying a gradually enveloping darkness, shrouded in the mystery of quiescence, till the full reality of darkness hits you. A slow, steady beat maintains the ominous intrigue, sporadically shattered, by the disturbing rage revealing itself through the vocals. Even an intelligently placed triangle performs its duty, alongside the cymbals, adding that extra mystery, upon which, it ends, like an unanswered question.

Lies – Coruscating intro, replicating the sense of acoustic echoes along an iron fence. The roar of enraged, monster growls rips your face off, rampaging through the dark night, on its evil mission to destroy. Drumming duties are well performed, as they batter their metal stakes into the ground. Uncompromising aggression fuels this tank of hate.

How The Gods Kill – Nirvana-esque riff intro, bringing light and patience to the fore. Quite lovely, as its’ blues slide tone is deployed, with equally calming blues vocals. Moving suddenly, into a full-scale guitar breakdown, serving it’s classic zone well. Becoming an electric, orgasmic, full on groove laced number, with the searing sound effect of a match scraping along its striking edge, before eventually, but still too soon for me, finishing on a beautifully sexy climb-down riff outro, making for an epic finale. Standout track, for certain.

Consume – A freer, lighter, percussion-based intro, working well as a follow-up to ‘HTGK’ and then, … unexpectedly, blasting back into life, like a speed train, racing angrily, along the track. The coarse blackened growls return, as the pace quickens, in time with them. The rhythm’s maintained throughout and it ends on another set of darkened growls.

Overall – You might say that ‘Disobey’ is an aptly titled EP for an equally aptly titled band. The sound within certainly reflects this. In performance terms, it’s good, as is its sound quality and the expression definitely follows suit. It is, however, quite jarring in its conveyance of the material and becomes so harsh in places, as to be almost unlistenable, due to that grating edge. A smoother polish to the production and a little more rounding at the edges might enhance this feature, as may a slightly mellower touch, generally, with a bit more melody. The best thing it can do is to take its cue from ‘HTGK’, which as a stand-alone track, takes its overall score up from a 7, to a firm 8.

8/10 ********

For fans of black and death metal and melo-death.

Pre-order link:

Lyric Video – ‘Where’s God Now’ –

Posted June 29, 2018 by jennytate in Uncategorized

Leashes – ‘Between The Lines’   Leave a comment

Heavy alt rock 4 piece Leashes, from London, present their new single release, ‘Between The Lines’. Its sinister overtones, affecting mood, with haunting sounds and noise elements combine with contagious melodies and catchy rhythms, in such a contradictory way that it makes for a heightened and thought-provoking listening experience.

Heavily inspired by the catastrophic results of blindingly following leaders and generic socio-political acts and inertia, with a particular emphasis on the loss and surrender of our own foresight and ability to ‘read between the lines’, it’s serious multi-level food for thought.

Between The Lines – Gradual tunnel like eerie keyboard intro, giving way to a heavy, full on rhythmic riff section and hard-core screams, amongst a melodic, alt rock backdrop. A crunchy bass line underpins it all, as the drums add the hardened edge and infectious beat and the vocals fly free, with catchy choruses, till the end. Upbeat vibes mingle with melancholic tones, making for an intriguing and unpredictable listen, as it barrels on, to the end. ‘B.T.L.’ is what you might call colourful chaos.

Overall – Exactly as claimed, ‘B.T.L.’ is enlightening and engaging, in spite of its darkness, as it’s strategically arranged, so it’s insightful, without being overwhelming and the light always overshadows it. Intermingling greyness and shadows with colour and light, ‘B.T.L.’ is delightful colourful chaos.

8/10 ********

For fans of Death Blooms

Posted June 28, 2018 by jennytate in Uncategorized

Scanner – ‘In Your Head’   1 comment

Founded in 1979, in central Pennsylvania, by Joe Brady and Junnie Fortney, Scanner is a roots and punk inspired independent rock ‘n’ roll band, whose new 5 track EP release, ‘In Your Head’, is available from this month. Inspired by eclectic styles, including the founding fathers of 50’s rock ‘n’ roll, 60’s hard rock and surf, 70’s glam and punk, ‘I.Y.H’. is a combination of alt, punk and soft rock, with various genre crossover twists and turns.

Frankenstein’s Flivver – Fresh, instant, lively impacting intro. Light-hearted heaviness, with lots of cymbal action. Heaps of enthusiasm, a typically punky sound and generally, a good start to the EP.

Never Go Back – Just as vibrant, there’s a big uplifting, feel-good factor about this. Lots of power and the sound quality rocks. Slight sleaze angle to it, but definitely more alt punk than sleaze. Ending abruptly, it may be a tad repetitive, but it’s consistently well performed, rhythmic and colourful. The melody’s its biggest draw.

Switchblades And Leather – Nice bass intro). Adding a heavier undertone, it sets the scene for a new and harder aspect. So far, this is the standout track, winning points for its lyrical imagery and sleazier edge. Also, for those sexy in and out breaths. This visually sensual direction holds an impressive pull.

Big Daddy Dragster Rock And Roll – Opening with that same lower, down tuned bass line, it works well, placing a whole new spin on it. Still light at heart, but at least there’s more meat on the bones now. Fading out well, with a reverb lyric, it’s fairly brief, but decent summer fodder, for bikers, with a softer edge.

TV Light – Cool chord intro, bringing an easy listening, Levellers-esque element, which works well. A mysterious Celtic edge enhances the folk blues sense to this and the melody’s catchy and very memorable. This has got to be my favourite track of all and though it’s short, it’s definitely fun and filled with feel-good, summery vibes, which’ll undoubtedly increase its appeal.

Overall – A rockily charming EP, best described as a sunburst of punky fun, with folky rays beaming out of it, ‘I.Y.H’. combines alt rock, with punk and light-hearted bluesy folk vibes, encasing it all in an interchangeable exterior of soft rock and sleaze. Perfect for a summer Fest.

7/10 *******

For fans of The Levellers, Green Day, The Superphone, The Offspring.

Posted June 26, 2018 by jennytate in Uncategorized

Liholesie – ‘Fables’   2 comments

An accomplished Russian ethno-ambient band, Liholesie launched their demo in 2002. Following this, they released 4 albums and a collaboration with other bands, between 2004 and 2008. During a transitional phase, their sound experimented with traditional and ceremonial folk moods. They are now renowned within Russia. Things were quiet for a few years, until their next album, ‘The Fog Of Transition’, in 2016. The music is currently based on the natural world and spiritual aspects of experience, with a particular emphasis on Shamanism. This has taken the band’s sound forward, to the new EP, ‘Fables’, which has introduced new elements, from various influences, with more focus on ethnic and ritual music.

Pine Needle – Birdsong intro’s, with a mysterious knocking and panpipes and a ritual drum sound, with the sounds of nature in the background. Very evocative of forests, Celtic visions and dreamscapes, as the melody increases and is joined by stronger drums, rain sticks and bongos. It’s really just a beautiful escape into other worlds and ethereal landscapes and though it’s definitely much more world music than rock, it still rocks in its own way and if it’s laid-back relaxation you’re after, this is the business.

On The Shore – A much stronger, heavier atmosphere intro’s, with light percussion emphasis, more powerful ritual drums in the background and a darker, almost Gothic sense to it. There’s still light within it, including seagulls and cowbells, but always, that darkness lingers somewhere. A range of Celtic and natural world instrumentals flows throughout it, taking you on a journey of wonder and mystery, to higher planes.

North – Opening enigmatically, with a strong breeze of wind and an aboriginal didgeridoo sound, the cold is palpable, enhanced by the string section, building in strength. A good example of gentle strength is demonstrated here. The tension continues to build, as it grows more intense, to the point of hypnosis. Almost an instrumental chant, it’s really a focus on pure expressionism. Fading out on another, even more powerful, yet lighter breeze, interpretive sound probably sums it up best.

Overall – Undeniably beautiful and mesmeric, ‘Fables’ is all about reaching your own interpretation. As an inclusion in the rock genre, it’s admittedly hard to place and does, IMHO, fall more firmly into the world and ambient music camp. However, as tribal beats and ritual elements are now becoming more of a focus within rock arenas, who’s to say what belongs and what doesn’t? Ultimately, it all comes down to interpretation and interpretation is what ‘Fables’ is all about. As such, it’s seductive, engaging, captivating and unique.

8/10 ********

For fans of WUAUQUIKUNA (Salazar’s), WYKAN, Knifesex, Urze De Lume.


Posted June 25, 2018 by jennytate in Uncategorized

Spam queries and FAQ’s section   4 comments

Prior to posting queries in spam, please see the FAQ’s section. The answer’s probably in there. Thankyou.

Posted June 24, 2018 by jennytate in Uncategorized

Notifications   Leave a comment

Please please please will people STOP venting at me about comment notifications and asking me to remove them from them?! For the millionth time, this is something you have to do yourself, via the ‘remove/stop notifications’ tab. As with any other site, I CAN’T do it for you. I’ve now been asked and complained to about this so many times that I’m not going to repeat it any more. It’s also in the FAQ’s. If I’ve already directed you to the FAQ’s, please read them and refrain from rptng the same query yet again! If this same query gets rptd again, I’m deleting it, without responding. Thankyou.

Posted June 24, 2018 by jennytate in Uncategorized

Comments and feedback   Leave a comment

Thankyou to all who post positive feedback on here. It’s always appreciated. I can’t always respond, due to health circs, but it’s always encouraging to see and makes a big difference. Please try not to repeat the same things, as this is very time consuming to read and creates extra work, impacting on my health. If I’ve already responded to you, please read my response and avoid repeating your comments. All shares, views and recommendations to others are always helpful and appreciated. Prior to asking questions, please check out the FAQ’s section, which may have the response you need. No techy q’s please, as I’m unable to answer those. Please keep all feedback constructive and relevant. No unsolicited links. Thankyou for viewing and contributing. Rock and Metal fans are the best!) You all rock!

Posted June 24, 2018 by jennytate in Uncategorized

Infrared – ‘Saviours’   5 comments

Introducing Infrared’s new album, ‘Saviours’.

All In Favour – Mightily explosive intro, liable to blow your brain apart and burst your eardrums. Hard core territory right here. An unmistakable thrash sound, performed with the utmost confidence and fervour. Those drums just rattle the foundations and the power within it pulls you in. Epic riffs and a rapid fire drumming fest pours out a relentless succession of battering rams, as deliciously capable macho vocals stream over the top. Precision timing and just enough melody to keep it accessible. That’s what I call thrash!

Father Of Lies – Nice deep echoic bass intro, bringing a sinister flavour to the track, closely caught up by a carefully cultivated, darkened section, resembling ‘Enter Sandman’, with even bigger balls. Penetrating and pounding your aura, with a slab of a drum attack, beyond heavy. Eerie lyrics, to disturb even the strongest mind and some assertively conveyed stop start sections, to shame Metallica themselves. Growing creepier, every moment, the heaviness builds and the darkness with it.

Genocide Convention – Fading in gradually, but solidly heavily, the dark atmosphere remains. A decent bit of vibrato hides within. Building a heavier and harder sound, with concrete force, getting louder and more intense with every second, the vibrato returns and the whole sound becomes a whirlwind of metal, contained within a maze, picking up speed, as it goes. Safe to say, ‘G.C.’ is a force of nature, with overwhelming power.

Project Karma – A blast of drums opens, rapidly joined by gigantic riffs and a general wall of sound, with an electrifying edge. Ear bleeding territory, of epic proportions. Just a feast of steel, with which to floor your enemies and kill them stone dead. Some true guitar wizardry within those twiddly riffs and paradiddles and an absolute immensity of power and volume. This’ll max out all other and lesser sounds. Ideal metallic distraction.

Saviour – Church bells introing, in an unusually quirky, but certainly no less aggressive prelude to full on, full impact, loaded metal. If anything, the heaviness increases and the vocals take on a Cooper-esque thread, completing and complementing the sinister edge, perfectly. This is the ultimate in reality blocking, negativity drowning, strength enhancing metal. The riffs growing increasingly sensual and delicious, as the sound of the drums and riffs combined evokes imagery of a ton of bricks, squashing your worries flat. Metal catharsis, in action.

The Demagogue – Booming power intro’s, as its intensity hits you square in the face. True thrash metal lives. Always enough melody to keep it catchy, but never compromising the hardened, edgy heaviness, for a minute. Gaining speed, 3/4 in, throwing in a riff fest fit for the mosh pit, upping the vocal melody, the riff stature grows larger to the end. Titanically metal and epically so.

The Fallen – Gorgeous acoustic intro, melting into your soul, proving their capacity for instrumental flourishes, before the vocals enter, with true grit and determination. Palpably pushing up the levels, adding in electric riffs and always maintaining that aptly sincere, gravel throated vocal. They really feel this song and it shows. The power and strength behind it speaks volumes and it’s enough to shatter any disbelief, to pieces. As the sound levels gently decrease back down and the riffs return to a slighter, but still passionate volume, you feel the emotion of the track, within you. Just beautiful.

They Kill For Gods – A blast of drums intro’s, with electrifying riffs and an ominous, yet relieved sense fills the atmosphere of the track. A very real and well-placed track, given today’s society and those lyrics will resonate with most. Brilliantly conveyed emotion permeates this and even a slight G’N’R’, ‘U.Y.I.’-esque riff section, echoing the strains of ‘Double Talkin’ Jive’. The pressure in the lyrics builds, as the finale approaches and it’s a very fitting end. Superb.

Overall – A force-field of metal like few others, ‘Saviours’ is an unmistakeably thrashy, fabulously performed tank of metal, with ginormous impact. Representing a band who can easily be called Metal Titans, it’s nothing short of a heroic masterpiece.

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

For fans of Trivium, Obzidian, Metal Church, KLOGR, Spreading The Disease, Eternal Fear, GRAVIL.

Posted June 24, 2018 by jennytate in Uncategorized

Enhailer – ‘Dumb Enough To Care’   Leave a comment

Released on vinyl format, on June 14th 2018, on Burnout Records, Enhailer’s ‘Dumb Enough To Care’ album is a limited edition format, available from bandcamp.

Founded in 2014, by members of Mockingbird and Rue, the following year, their debut EP was launched and 2016 saw the commencement of the 1st album, produced at Tangerine Dreams Studio, Akron, Ohio. A string and keyboard section was introduced and ‘Grisaille’, as it was known, was released via Blackseed Records, during June 2016. Following the launch of ‘D.E.T.C.’, on Dec 11th 2017, there are plans to launch a couple of collaborations this year.

Dumb Enough To Care – Decent light hearted, steady bass intro, with lots of bluesy feel. Stoner rock, with a lighter vibe. This’ll go down well with Stone Temple Pilots fans. Nice relaxed tempo, plenty of groove and a snatch of spoken dialogue amongst the melody. Effective use of light percussion, combined with an even flow of heavy vocals and low rumbling riffs. Incorporating a touch of hard reality within the background sirens and sporadic angry dialogue. Slowing the pace down, approximately 3/4 in, bringing a more traditional stoner sound to things, there’s a good balance of experimentation with speed alternations, all whilst keeping the tone consistently low. Drums becoming more active, towards the end, deepening their involvement, as the vocals deepen with them, till they’re almost blackened, it’s a great variety of performance.

Overall – As a single extended track, it’s a good representation of the potential within stoner rock and especially its’ potential to be lighter and less doomy than is often expected.

7/10 *******

For fans of Stone Temple Pilots, Witchcraft, Electric Wizard, Kyuss.


Posted June 22, 2018 by jennytate in Uncategorized

Chandrian Kill – ‘I Collide’   Leave a comment

Co-produced by the band and Brad Tuttle, (Seven), at Seventh Studios, USA, ‘Bring Out Your Dead’ is a 3 track EP, comprising modern, metallic food for thought, released on 7th September 2018. A preview snatch of ‘I Collide’, the 1st single, launching on 4th July, is available on YouTube. (Link below).

The sound of Chandrian Kill originates from 2 metal veterans and a lot of catchy improvisation. Nic Whitmore (vocalist, ex Number One Son), as a comeback, following an extended hiatus from the scene and an ambition for a fresh platform and Ted Clark, (ex-Moesaboa and My Life In The Making), founder of and songwriter and guitarist for C.K.

Ted and Nic commenced working on the C.K. project in 2016, initially online and physically, from Ted’s studio, in March 2018. Producer Brad Tuttle (Seventh Studios) entered the scene in April. Having great respect for Brad’s work and in particular, his latest release, ‘Dark Scientific’, Ted was determined to bring him on board. Terming the outcome, ‘contemporary melodic metal’, Ted feels it’s very unique, likening it to Deftones and Corey Taylor, with a hint of Djent.

‘I Collide’ deals with the beginnings of life, as a commentary on Nic’s concept of life’s eternal struggles. Collectively, the 3 tracks on the EP (including ‘Filter Off’ and ‘Remain Alive’) are intended as the 1st in a sequence of EP’s – this one written as a straightforward notion of life and its realities, identity and self-concept.

Set to be a lively debut for a modern, frontline metal act, ready to take the world by storm.

I Collide – Instant alt rock sound, with touches of death vocals. Strong melodic focus, clear lyrics and a movement effect going on. Slight metal core/grind core sense to this. A little repetitive and probably more for the sub genre/crossover genres than straight melodic metal. No quarrel with the sound quality. It just doesn’t have that spark and ultimately, doesn’t hit the spot. The video teaser’s a tad obscure, with a maths metal impression at the outset and though the skeleton image is thematically connected, the background’s bland and it just doesn’t grab you. Again, their musical ability’s not in question, but the track’s largely missing any standout features. Too little effect. Too much absent. Capable performers, but doesn’t do it for me.

5/10 *****

For fans of alt rock, metal core, grind core, melodic and death crossover and subgenres. (‘I Collide’ teaser video).



Posted June 17, 2018 by jennytate in Uncategorized