Archive for December 2018

2018 Album Of The Year – ‘March In Arms’, by March In Arms   3 comments

‘MIA’ wins the accolade of 2018 Album Of The Year for so many reasons. Going way beyond impressive, it’s 10 tracks of absolute metal gold, with an added twist of meaning resonating throughout. It isn’t just the meaning in itself, but the purity of empathy and accessibility with which it’s been conveyed.

To deal with such unimaginably dark themes in such a real, poignant, yet uplifting way pays genuine tribute to those for whom ‘MIA’ was created. The sheer passion, precision and perfection inherent within its sound shows true, reverential respect for the soldiers on all sides, their loved ones and all those affected by the aftermath of war.

‘MIA’ not only expresses these dark realities so vividly, but even within the painfully palpable portrayal of such atrocities, it still succeeds in making the entire album impossibly and irresistibly infectious. Never a note out of place and loaded with major catch, ‘MIA’ is compulsively addictive listening.

Metal power, at its best, ‘MIA’ is a solidly unforgettable thrash extravaganza, fully deserving of the award of 2018 Album Of The Year.

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

For fans of Soldierfield, Ozzy Osbourne, Powervice, Farseer, Anthrax, Saxon, Dan Trigger, Fahran, Motorhead.

For closer comparisons, ‘MIA’ has the ritual drumming, darkness and depth of Satarial and Venom, the speed metal power riffs of Enforcer, the melodic vocalisation of Disturbed and lyrical profundity like no other. Even with all these comparisons combined, it stands alone, as a unique force of nature.

Read more here:

Having dedicated ‘MIA’ , in their own words, “to those who gave life, limb and service in the cause of liberty”, I would like to join with MIA in also dedicating this special feature to the same.

Posted December 30, 2018 by jennytate in Uncategorized

Deever – ‘You Need This’   Leave a comment

Featuring ex-Inglorious guitarist Wil ‘Billy’ Taylor, Deever’s debut album, ‘You Need This’, is released on February 1st, 2019. Following hot on the heels of the success of Inglorious’s 2nd album hitting number 1 in the U.K.’s official rock charts, Deever is a sound more suited to Billy’s personal tastes. Combining new-wave hard rock, punk and metal genres, ‘ YNT’ has a very traditional theme.

Most of the album was self produced, by the band, in their own North Red Studios, Darlington, UK and the rest completed at Parr Street Studios, Liverpool, by gold selling engineer, Tony Draper, with whom Billy had previously worked. He engineered and mixed the entire album. During the production, the well-known Nick Watson (Iron Maiden, Motorhead, Deep Purple, The Sex Pistols, Faith No More, The Strokes, Coldplay) was also utilised.

Soon to emerge single video ‘Only Enemy’ deals candidly with the topic of modern day loss of self-esteem, via social media induced validation obsession. Also tackling the creation of online identities, as a lens, through which all our reflections of self are channelled, ‘YNT’ has been a very real and expressive creation.

Fire At Will – Introing on a very Line Of Fire-esque riff, immediate crunch and ease of performance hits you. Catchy, yet a slight sense of melancholia pervades. Some strong, melodic riffage and vocals flow, effortlessly, till the decisive, closing drum hit. Good start, making a solid impression.

All Come Running – Opening with a decent bit of twiddly riffage, more vocal melody and instant ease, though still, that melancholic air remains. There’s a classy sense about it, but that ever present thread of gloom hovers, mercilessly. Reminding slightly of Exit State, it fades out abruptly, like its batteries are running down.

Alright – Good bass intro, setting the scene for more of a stoner-ish atmosphere. As claimed by Deever, it does have hooks, though it’s a bit too poppy to stay firmly in the hard rock camp, despite this track’s stoner edge. Musically, it’s perfectly able, but it’s just missing that ‘thing’. The spark just isn’t there.

Back Down – More riff-based intro, with an acoustic sound and a gentler, yet Darkness-esque vocal. Moving quickly, into pop rock territory, it’s admittedly catchy, at this point. Okay, this track’s got me, to a point. So far, it has to be the stand-out. Too much of an abrupt ending, though. This could have done with a slower fade-out. Wanted to savour it a bit more and it’s not fair.

Waves – What’s happening here? Decidedly unsure about that group vocal intro, but the faster pace works. A bit of an emotional one. Obviously personal lyrics, but at least it does rock up a bit, at the end. There’s just more rock needed.

Parachute – Drum hits intro, onto a nostalgic feeling melody. Audible vocal skill channels a lot of emotion. Brave exposure. Still a little too poppy for a rock production, but it’s evident there’s a lot of energy there, which is well utilised, to its maximum capacity.

Only Enemy – Cymbal hits open, followed by harder heavier drum hits and similarly heavier vocals. That same emotional thread runs through it, but this time, there’s a clearly defined edge to it. This has got a good pace and a more definitive ending, serving it well. So far, this album runs like an A-Z catalogue of emotions, telling its own story.

We Are – Slightly punky intro, working it into an attitude filled track, straight away. A very 90’s feel to it, bringing that same flavour of hopeful uplift out. Vaguely familiar sound, it’s quite teen rock, with that nostalgic vibe about it.

Jim – An easier, more relaxed feel about this one, getting right into the vibe. Symbolic lyrics, to those who’ve been there. Again, the pop angle creeps forward, but the realness of the emotional fallout’s clearly audible. It does have a bit of a kick to it, but once more, the tone’s just too downbeat to encourage a replay.

I Am The Cavalry – Stronger track, right from the off. Notably heavier, livelier and much more hopeful and as such, a far more powerful closer. This is the sound the rest of the album may have benefited from aiming for. Now, it veers off in a whole new direction, being really visual in its strong depiction. Ending assertively, this is where Deever’s strength lies.

Overall – A bit of a mishmash of sounds and styles, ‘You Need This’ has the basics down, but just doesn’t seem sure of its direction. A more focused line of sight would serve it well, though it is strong on emotion. Just perhaps channelling it into too many directions at once. Tracks ‘Back Down’ and ‘I Am The Cavalry’ are the jewels in its crown and possibly, it’s best means of attack. Ultimately, it does the job okay, but it’s confusing itself, with multiple angles and needs to rein itself in and pick an avenue. Preferably, that expressed, at its strongest, in ‘BD’ and ‘IATC’. ‘YNT’ – biggest lesson here? Play to your strengths.

7/10 *******

For fans of Exit State, Duff Mckagan’s Loaded (especially, ‘No More’).

Posted December 29, 2018 by jennytate in Uncategorized

Revolutio – ‘Vagrant’   Leave a comment

Italian alt metal band Revolutio formed in 2011. Two years later, their debut EP, ‘Lead The Way & The Old Days Remastered’ was launched and their live shows began. Since then, Revolutio have been busy crafting their signature sound, culminating in a full-length album, ‘Vagrant’, produced in April 2017, at Audiocore studio, by Luca Cocconi (Modern Age Slavery) and Simone Sighinolfi (Hallucinator). Following its recent release, on November 9th, 2018, ‘Vagrant’ will be distributed through Finnish label Inverse Records.

Aftermath – Opening with an air raid siren, followed by a bomb blast, a powerful sound effect’s created.

Meek And Bold – Insanely loud drum roll intro’s, chased by razor sharp riffs and monster, Rammstein-esque vocals. A good combo of melody and gravel. Harsh, steel laden rhythm and edge laces the track with cutting metal. Surprisingly impressive.

What Breaks Inside – Another volt of live electricity shoots through you, with a bolt of steel. A hint of gore to the vocals, stopping just short of sludge, though still throwing in a taste of death, like Lemmy reborn, with a touch more vocal darkness. Always, the drums keep the pace, with relentless drive. That European angle’s clearly audible, through the melody and speed. Fading out on a breezy riff. Picture a slightly edgier, darker Disturbed, meets Rammstein, meets White Wizzard, with a Motorhead flavour.

The Oracle – Again, the intro riff and drum hits cut you, as they meet. A brief spoken oration over the top gives way to a  Battlelore-esque hardened sound, gaining in aggression and vocal depth. Still, that gory essence remains, sliced apart by those melodious feedback riffs, utilising the wah wah pedal well, in that moment. Taking the pace down, to a slower, more comfortable tempo, adding a relaxed, catchy riff, loosely performed, before closing with more feedback. Arguably extraneous, they could have lost the feedback, as the song speaks for itself.

Ozymandias – Crazed riffing intro’s, onto an atmosphere of seriously heavy metal, verging on Sab-esque stuff. Only the sludgy vocals remove it from that echo, though a trace of Ozzy’s still evident in the throaty feel. A solid steel accompaniment stays consistently throughout. Nice fade out on a well chosen note, perfectly executed.

Eclipse – A sinister, ominous opening, based around a creepy riff, cymbal and eventual drum roll. The riff growing increasingly more melodic, as the track evolves into a pure instrumental. Quite delicate, yet strong construction.

Silver Dawn – Intrigue seeps into this active, physical intro, evoking imagery of a film montage, cutting to different scenes. A fairly visual track, moving from quiescent stealth, to hard, heavy metallic territory. Obvious confidence pours through the vocals, filtering grit and gravitas into your senses.

Requiem – Gentle, yet insistent steel strung solo acoustic riff intro, soon accompanied by an equally textured vocal. Electric, bluesy sections follow, growing in power and volume, as do the vocals. Amazing immediacy and soul sings through it, scorching your being, with darkness, light and shades in between, as it swings from heavy steel blues, to gentle sentimental melancholy.

Daydream – Opening on a folky and aptly dreamy note, yet somehow, carrying a hint of wild west atmosphere. Raising the mood and volume, reinforcing the backdrop, with a metal fortress of power. Lots of loaded European tinged riffing, with a steel heavy drumming background. A real strength infuses those vocals, with everyone taking their turn, with backing vocals. Generally, it just grows in Titanic stature, till the end.

The Great Silence – A gust of wind intro’s, in the much revered and emulated ‘Holy Diver’ vein. Sound effects of gentle clattering of objects in the breeze, accompanied by the sense of a lurking presence, with a menacing, threatening edge. Invoking a strong ominous atmosphere, your thoughts are left to run wild and imagine. A powerful physicality conjures chills, as you feel the cold of the haunting breeze seep into your bones. It goes on just a tad too long, evoking a sense of time standing still and the silence stretching out, into oblivion. This just over eggs the pudding a bit, with needless overrun. Whilst it captures the element of dread, as time drags on, it becomes frustrating and wastes space and potential for more music. Okay, we get the hint. Now, stop it.

Overall – All in all, ‘Vagrant’s a bloody good album, with plenty of bite, but ‘TGS’ is interminably long and spoils what could otherwise have been a magical ending. A wasted opportunity to consolidate a largely majestic album. Lose ‘TGS’ and you have something approaching perfection.

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

For fans of Rammstein, White Wizzard, Motorhead, XII Boar, Crowning Glory, Battlelore, Amon Amarth.


Posted December 23, 2018 by jennytate in Uncategorized

Trey Lunabomber – ‘Brown Noser’   Leave a comment

Introducing Trey Lunabomber’s new solo track, ‘Brown Noser’. Returning to his punk roots, for this track, it emulates his previous band, Freedom Club, in sound and substance. FC was a family concern, in which he and brother Brandon, (current Electric Vengeance guitarist, Trey’s other project) participated.

For anyone wanting to dig deeper into Trey’s stage name, it was adopted in relation to certain aspects of his dramatic stage performance, whilst in Freedom Club. This current solo track, ‘BN’, was recorded on the same analogue equipment used for FC, so as to recreate that same punky, lo-fi sound.

Brown Noser – Instantly punky sound hits you hard, much in the style of The Sex Pistols. Still, there’s a light-hearted aspect to this, keeping it fun and easily accessible. Short track, in keeping with the punk ethos, ending on a drum roll and a buzzy guitar riff. It’ll work well for short attention spans. A complete diversion from the heaviness of EV, it’s a short, sharp message, with a touch of feedback on the final riff. A good choice for a punk party piece.

6/10 ******

For fans of The Sex Pistols, The Courtesans.



Posted December 21, 2018 by jennytate in Uncategorized

The Overthrone – ‘The Plague’   Leave a comment

A Stockholm-based melo-death band, The Overthrone are heavily influenced by bands such as Trivium, In Flames, At The Gates, Sylosis and more. Positive acclaim earned from their EP singles led to their inclusion in some Spotify playlists, under New Blood and New Metal tracks, alongside such Titans as Slipknot, Architects and Revocation.

T0 now present their debut EP, ‘The Plague’, ahead of their full length album, due for release in 2019.

Intro – Deep, bubble like intro, quickly growing into a dichotomy of rolling boulders and windchimes, overridden by what sound like starting bats, rhythmically deployed, in a gradual build-up to an almighty explosion……. ending abruptly.

Inferno – Slight delay, before it kicks in, but then,…… bang! Unhesitant, remorseless, straight-out aggression. Some tasty Slayer licks engage with death style vocals and a rapid-fire flurry of drumming. Audio quality top-notch. Definitely leaning further towards the black metal area. Straight out, focused attack. Throat tearing vocals surround a gory atmosphere. There, the melody begins, backed up by increasingly heavy, pounding drums. It’s a great interplay of metallic sounds, fading out gradually on a bed of song.

Dusk – Opening with a wide-mouthed tunnel effect, employing a good bit of wah wah, moving into another blackened sound, with a slightly earlier melody, this time. Still, those same pounding drum rolls flavour it with heavy power. The rhythm speeds up, to a frenetic chase, ending on a definitive drum finale.

The Plague – Banging explosive intro! Full on dark metal assault, with a strong thread of blackness. Throwing in some plausible growls to go with it. Here, those Slayer-esque riffs kick in again. Momentarily, moving into quiescence, till the darkness and gore returns. It’s just very deathy. Closing on an angry roar, there’s a lot of power in here. The Trivium influence is audible at this point.

Downfall – Another explosive bang of an intro. Drums making their claim for dominance and dominion. Speed riffs join them and once more, the pace hots up. This time, it’s edging towards Viking metal territory, with that warrior feel about it. Almost a ritual beat to it, then melting back into melodic zone. It’s a very assertive track. Becoming more melodic, towards the end, the death growls still persist, though. Fading out, onto a more profound and sombre outro, there’s definitely some kick to this.

Overall – Good quality production, with a lot of passion within it. Hard to fault, really, though death vocals can grate, after a while. The only minor criticism I’d make is it needs more melody, to balance it out, but it is melo-death and as such, needs to represent both melodic and death metal, as it does. On the whole, it’s clear to see why ‘TP’ has won the acclaim it has. It’s a strong sound, confidently delivered, with plenty of volume.

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

For fans of Skreamer, Trivium, Mortad.

Links to follow.

Posted December 19, 2018 by jennytate in Uncategorized

Hitwood – ‘Orrido’   Leave a comment

Introducing new release, ‘Orrido’, from Hitwood, Italian melo-death solo band, featuring guest vocalists. Carlos Timaure guests for this new track, bringing black metal contributions.

Orrido (Lyric video) – An earthquake hits at the intro, featuring its aftermath throughout. Very lyrically dark, in places, depicting themes to which many will relate. Interchangeable images of sepia tinted wreckage and destruction, versus bright, colourful wings. A very expressive track, with very pertinent themes. Throughout the video, the lyrics are inaudible, but always visible. Quite deep instrumentals here, with plenty of bass and an abiding sense of hopelessness. A decent track in the sense of conveying emotions and experiences and a more confident departure from the earlier material. Arguably less melodic and increasingly downbeat, but unsurprising, given the points of focus. Its main need for improvement is in the inaudibility of the vocals, which, despite coming from a black metal angle, are impossible to locate, letting the track down. So musically speaking, a bit mediocre this time, but the point is made.

6/10 ******

For fans of Ordnance.

Released 7th December 2018.

Posted December 14, 2018 by jennytate in Uncategorized

Aftermath – ‘Smash Reset Control’   Leave a comment

Formed in Chicago, in 1985, Aftermath launched their 4 track demo in 1986. Another demo, ‘Killing The Future’, came in 1987.

Developing their own signature brand of speed tech thrash led to them being hailed as a groundbreaking thrash crossover band. This reputation was cemented by the appearance of 2 of their tracks, ‘War For Freedom’ and ‘When Will You Die’, on Metal Force Magazine’s ‘Demolition: Scream Your Brains Out’ compilation, in 1988.

During that same year, there were some additions to the line-up, with some continuing line-up changes through 1989. By then, the band’s sound and techniques had also changed. This was demonstrated by the launch of their new renowned demo, ‘Words That Echo Fear’. Another line-up change followed. From this point, Aftermath became a cutting-edge prog tech thrash band.

Following on from that, 1990 saw Aftermath in talks with Roadracer Records, ending in a live 4 track demo, before transferring to New York’s Big Chief Records. However, BCR folded mid-way through recording sessions, prolonging the release’s completion. Four years later, an album begun in 1990 was self released, with managerial support, via Zoid Recordings.

Some stark alterations to the scene had taken place between 1990 and 1994. By that time, ‘Eyes Of Tomorrow’ had been re-released, via Thermometer Sound Surface/Zoid and then re-re-released in 1998, as a remastered format, through Black Lotus Records.

In a well-publicised legal battle, Aftermath prosecuted world-famous millionaire rap star Dr Dre, for ownership rights to the Aftermath name. The defendant, Interscope Records, signed Aftermath, who soon after, revealed a new release, under the band name, Mother God Moviestar. The electro-metal debut launched in 1998. The case has become infamous, throughout American law schools, in relation to trademark dilution.

Aftermath have gone on to successful acclaim, as a main genre inspiration. Their success has brought them a book feature, (‘A-Z of Thrash Metal’), various high-profile gigs, including California’s Ragnarokr Metal Apocalypse, Hamburg’s ‘Headbangers Open Air, etc, the release of a box set (2011’s ’25 YEARS OF CHAOS’), on Area Death Productions, a vinyl format, ‘When Will You Die’, on F.O.A.D. and a 2015 reissue of ‘EOT’. Launched on Shadow Kingdom Records, featuring bonus contents and an extended booklet, it was re-mastered by Paul Logas (Pantera, Steel Panther), as was their next release, ‘Killing The Future’, re-issued on Divebomb Records. This marked their 30th anniversary.

2017 highlighted a new beginning for Aftermath, as work began on their current 11 track album, ‘There’s Something Wrong’. An original concept album, featuring a traditional crossover thrash, tech/prog combo, ‘TISW’ is a social comment on the faults of modern society. A philosophical call to arms, with an associated lyric video, ‘Smash Reset Control’, accentuated, thematically, by the artistry and chosen colours. A return to form for the band, ‘TISW’ is more thrash and speed based, generally.

The first single, ‘Diethenasia’, is a powerful testament to its themes, with all the drive and merciless aggression to show for it. The linked video (directed by Davo Paul) matches the song’s chaos. Aftermath are a breed apart. Here’s the audio version of ‘Smash Reset Control’.

Smash Reset Control – Unusual space rock style intro, followed by heavy thrashy riffs and a light touch on the drums and cymbals, with a vivid visual pace, creating imagery of some kind of athletic exercise. Morphing into a mainly electro track, with repetitious thrash riffs, which taken alone, with a bit of melody thrown in, might have done the song more justice. The hardly audible lyrics are equally repetitive and add no flavour. The drums actually seem to be struggling to keep up with the pace and it’s all a bit dull, really. Main issue? Obscure, unsuited genres trying to merge with the thrash. It just doesn’t work.

4/10 ****

For fans of space rock, electro, sci-fi metal.


Posted December 11, 2018 by jennytate in Uncategorized

March In Arms – ‘March In Arms’   3 comments

From Sioux Falls, South Dakota, March In Arms now present their reissued self titled debut album, released on November 20th, 2018, on CD, with 2 live bonus tracks. Self defined as ‘thrashy military power metal’, their hard-hitting genre will strike a chord with all fans of heavy, catchy, anthemic, melodic metal.

Inspired by the traditional old school giants, such as Metallica, Iron Maiden, Motorhead, Black Sabbath, Pantera and Judas Priest, MIA is destined to go down a storm.

Procession Of The Dead – Deathly tone intro’s, deeply vocalised lyrics in complete sync with the instrumental mood and a brief, but heavy funereal sound echoes throughout. A fabulously performed tribute to the fallen, likely to ring through your head, for a long time to come.

The Failure – Instant, impacting, immersive blast of drum fire opens. Heavily melodic vocals paint their message onto your brain. Such touching lyrics, perfectly supported by strongly conveyed accompaniments, taking hold of your mind, with compellingly catchy hooks. Increasing the volume and heaviness even more, evoking immediate powerful imagery. Etching the battle scar images onto your mind, with the ritual drum march and air raid sirens, at the end, this is one profound experience.

Firebreather – Introing with a freestyle riff, opening up a landscape of green fields and racing power, this is hit material, for certain. Vibrant, upbeat melody and mood shines through it, in such a life affirming way. Very much a united effort, solidarity screams from this. Just infectious, on a massive scale, loaded with colourful, powered riffs and anthemic vocals, it hits the spot, ending on a definitive riff and drum hit.

Mouth Of The Kracken – Cymbal hits open, giving way to massively hard edged drumming and melodic vocals, meaningful lyrics pouring forth from expertly delivered voices, to a heavily supportive background of accompaniments. A pained scream, aptly placed, tells its own story and yet, there’s always still hope streaming through the instrumentals. Loving that heavy beating rhythm, powering itself through the song, with aplomb. To say this is striking is an understatement. It’s a living, breathing entity, all of its own.

Overlord – A political oration opens, drowned out rapidly, by the blitz of metal, joined by poignant and ever adaptable vocals, reflecting and proving the moment to moment uncertainty, necessitating that same adaptability. The trenchant lyrics, ‘freedom is not free’ will get into your head and eat away at you. Here you can feel and envision the rapid fire artillery, shooting through the riffs and drums, as the battlefield opens before you. Fading out to that same sound, always the same impressive standard prevails, regardless. So much is conveyed through this track and still, the metal lives.

Empty Pleads – Sharp, electric riff intro’s, onto a beautifully punchy melody, searing right into your soul. A powerful narrative characterises this, from the start and it’s one you can’t fail to be touched and affected by. Even the words ‘carry on’ themselves, carry a pertinent message. Highly melodic, filled with high octane, uplifting vibes, even amidst the painful themes. There’s an incredible strength in this track, seeming to speak hope right to your soul. As the piano finale arrives, you’re somehow emotionally drained, yet inexplicably lifted, simultaneously. That’s quite some feat of achievement.

The Knife – Hellishly heavy drum beats intro. A huge vocal strength hits you instantly. Again, the battle scene’s so well depicted, with complete consummate power and physicality, it’s near impossible to transfer that level of palpability into words. It just continues in that same vein, till the ending drum beats, played so heavily as to be audible within your own heartbeat. Incredible.

Ashes – Rapid drumming intro. Impressive stamina of rhythm and pace. A cavalcade of relentless drumming drives this track forward, with the catchy melody and ace sustain. Thrilling fast riffage in there too, conveyed through meaningful arrangements. Those lyrics just cut into you and the fade-out’s simply perfect.

I Am Death – Another powerful drum intro, building a slightly darker tone, taking it up into higher territory, in the most catchy way. Great engaging pace, resembling all the most poignant sections, instrumentally, at all the right times. Throwing out the notes, like weaponry, ending on a final bomb-like drum blast.

To No End – Opening with an electrified riff and some gorgeous vibrato, a breeze of accompaniments setting the scene. Darkly heavy riffage and drumming paints another picture, with plenty of melody, zipping along, on a line of power. Quite an atmospheric number, building the track up, higher and higher, with real feeling, till the end. A serious feast of metallic aggression and pelt.

Firebreather – (bonus live track) – Brilliant live intro, compelling as fuck. This just speeds along and you feel the energy, right along with it. Fantastically atmospheric, it’s a demon of a song and just too catchy for words. You need this track in your life! Breathing life, energy and zest into every frigging note. Absolute metal gold dust. Love it, love it and then some.

Mouth Of The Kracken – Again, freeing up the energy in the room, with a passionately voiced intro. Getting right into it, so you wish you were there, this is pure metalgasm. Pumping up the power, every second, in the most headbanging way, taking you straight to mosher’s paradise. Lively aint the word. Taking it up and bringing it down, with complete accomplished perfection, this is sexy, with a capital S. I defy you not to get into that riff fest. Any metal head knows that feeling when the metal action’s so good, it starts to hurt. I’m there now and it’s glorious.

Overall – Active, energised expression, in a way that drags all your emotions out and spills them onto the floor, this magnificent album is the most metallically real, mind-meltingly passionate piece of genius I’ve heard all year. You need it in your life now. Go buy it. Immediately.

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

For fans of Soldierfield, Powervice, Farseer, Anthrax, Saxon, Daniel Trigger, Fahran, Motorhead, all Ozzie’s backing bands, combined.

Posted December 9, 2018 by jennytate in Uncategorized

Logical Terror – ‘Nightmare’   Leave a comment

Logical Terror had been writing music for some time, before hitting the studio in early 2010. Produced by Dualized and Eddy Cavazza, of Dysfunction Production (Fear Factory, Mnemic, Grenouer), their debut, ‘Almost Human’, was released on American label Reality Entertainment (Sybreed, Godhead, WASP), winning them an international digital distribution opportunity.

May 2011 saw ‘AH’ being published in America and on international digital platforms. An extensive promo tour followed. During this time, they played alongside numerous high profile bands, e.g. Sepultura, Arch Enemy, Soilwork, Darkane, Primal Fear, Engel, Mnemic, Raunchy, Destrage, Neosis, Tasters, Empyrios, etc.

In 2016, LT signed to Darktunes/Soulfood and their 2nd album, ‘Ashes Of Fate’ was launched on May 6th. It featured Jon Howard (Threat Signal) and Bjorn Strid (Soilwork), as special guests.

On November 16th, 2018, LT launched their new single, ‘Nightmare’, featured on Spotify’s official ‘New Metal Tracks’ playlist.

Nightmare – A cavalcade of drumming opens onto an industrial grime sound. Happily, it then changes tack, moving into a melodic section, before revealing a pattern alternating between the two. A good variety of textures, tones and arrangements lends it an air of versatility and unpredictability. Definitely heavy, resembling something between techno, melo-death and grime, with industrial overtones and shades of melodic metal. Decent production, accessible, mid-paced rhythm and the track breathes well, in all the right places. For me, it’s missing the catch and memorability of a more consistent rhythm and melody, but on the whole, ‘Nightmare”s a well performed track, with impressive audio values.

8/10 ********

For fans of techno, maths and sci-fi metal, grime, industrial, grind-core, hard-core, melo-death and other sub/crossover genres. (FB) (YouTube)


Posted December 7, 2018 by jennytate in Uncategorized

Marius Danielsen – ‘Legend Of Valley Doom Part 2’   Leave a comment

As of November 30th, 2018, the long-awaited Part 2 of ‘Legend Of Valley Doom’, by Marius Danielsen, is available, via Crime Records.
Following on from the well acclaimed Part 1, voted ‘Album Of The Year 2015’, by Power Metal Cereal Guy’s Facebook fans, in competition with such giants as Blind Guardian and Rhapsody, Part 2 has only taken 3 years to produce, in comparison with 10 years for its predecessor. Forming the next stage of the stunning metal opera, it features several metal titans, led by a spellbinding narrative. Featuring a similar plot to ‘Lord Of The Rings’, with a supreme power metal soundtrack, ‘LOVD – Part 2’ can be pre-ordered from Crime Records web shop. It’s also accessible on all digital platforms on CD and LP. The CD features the bonus tracks, ‘Tower Of Knowledge’, with Vinnie Appice (ex Black Sabbath, DIO and Heaven And Hell) on drums. The LP format is presented as a double 180g black vinyl, with inlay, featuring bonus track, ‘Crystal Mountains’, also featuring Vinnie. Distributed via PlasticHead. Tracks ‘Temple Of The Ancient God’ and ‘Tower Of Knowledge’ are also now available as digital singles.

King Thorgan’s Hymn – Narration intro, amongst a backdrop of rain and powerful atmospherics, before moving into a Baroque, mediaeval style metal section, of beautifully performed vocals, centred around spirited lyrics. A strong fantasy thread’s already present, conveyed very visually, with a low-key theatrical edge and a wonderfully upbeat mood. Very promising.

Rise Of The Dark Empire – Instant strength hits immediately, with this stunning power intro! Getting straight into its stride, the level of highly accomplished craftsmanship’s instantly obvious. This track’s very much featured around power and strength, in numbers. The band of loyal warriors are very much audible. Here, the riffs come forward and speed their way through the track. The panpipes take over, playing a beautiful melody, before the drums gather pounding strength and the riffs melt into your soul. Again, that fantasy element overlays everything so well, showing through the gently insistent closing lyrics.

Gates Of Eunomia – Opening on a more sombre note now, supported by the heartfelt narrative. Here, the vocals really reflect the emotion of the moment. Rising up to the higher registers, it ends, on a group vocal, a little too soon, but otherwise, faultless in its delivery.

Tower Of Knowledge – Following up nicely from ‘GOE’, the fabulous narration continues. Now a solo vocal takes over the story-line, in an extraordinarily beautiful performance. The power rises, with the visuals, as the backing vocals and accompaniments join, in perfect rhythm. Gorgeous melody, such catchily passionate, plausible lyrics just take you right there. Incredible.

Visions Of The Night – Bang! Moving right into it, with a heady drum roll, with no hesitation at all. Soon joined by a choir of powerful voices, the drums speed up, keeping an impressive momentum. As the story unfolds, you feel every shade of emotion and experience. Inspiring lyrics, so visually evocative. The melody brightening all the time. Brilliantly handled drum rolls, so physical, you almost feel his hands wrap around the kit. That choir’s so in sync and the tones and rhythms just hook you right in.

Crystal Mountains – Introing on a darker tone now, sung in a deeper register, followed up by a vibrant, colourful guitar melody. The vocal pitch now grows into a classic, anthemic metal sound. Here, the old school voices are well audible. There’s no escaping the addictive catch. Supremely high octane riffs follow, really bringing out the melody and hand of experience. It’s a very traditional sounding track and you have to love that. Even throwing in some Maiden-esque, ‘Children Of The Damned’ style vocals, at the end, it’s just pure driving power.

By The Dragon’s Breath – Opening on a deep masculine vocal, taking up the story, in a contemplative tone, before that glorious power hits once more. Taking it right back up to heaven again, Blaze’s voice is clear, as is the absolute focus of power and determination that always goes with it. Bringing the song to life, the riffs do the same. Fiddly bit of riffage going on there, for a brief moment, before it’s easily handled and returned to its incessant rhythm. That pumping metal feel is very much in residence. Closing on a deeper, palpable vocal, Blaze finishes it perfectly and emotively as ever.

Under The Silver Moon – Heartfelt piano intro, taking the song into an instantly emotional direction. As everyone sings together, you sense the feeling being poured, wholeheartedly, into the lyrics. It’s a real epic, well depicted. A great piece of fret bending magic going on in there, through which, you can see rainbows of colour exploding. So well narrated, with complete conviction. Ending with the piano gently tapping out those notes, it’s a very warm, sincere track.

Angel Of Light – Massive power metal intro leading the way into the light! An explosive number, filled with melodic catch and high vibrations. A beautiful, enchanting mid-section bridges the dividing sections, followed by an exciting riff fest, fizzing with colour and light. Well worked drum rolls, expertly handled again, adding that edge of power. The choir unites in a touching closing harmony, impossible not to be touched by.

Princess Lariana’s Forest – Opening on a woodwind section, characterising the beauty of the forest. A vocal section of immense courage and strength takes over, depicting the feeling of the moment. Rising magically, in unison, the tones convey so much. An enchanting feminine vocal enters, followed by the masculine, rapidly seguing into a power vocal, carrying the mood and pace of the song, expertly. Very believable lyrics end, split equally, between the feminine and masculine, consolidating everything, leaving a hauntingly ethereal imprint.

Temple Of The Ancient God – Wow! Hugely theatrical aggression intro’s. Again, it’s extremely visual and fills in the colours within each scene, in your mind. A colder, more sinister thread enters, through the riffs and from there, the power just boosts throughout the song, with a very slight directional flow alternation. Scrumptious riff melody, almost regal, in its sound and delivery and it can’t fail to move you. A very cohesive vocal sense to this, growing deeper, towards the end. As the narrator returns, the point of the story is clarified and its motivation fulfilled.

We Stand Together – Following up well, the mood comes through, from the start. There’s a fantastically expressive thread consistent throughout this and it’s so real and emotional. Ending on an immensely powerful vocal harmony, its point is made, sublimely well.

Overall – Definitely worth waiting for. Only one word for it – epic. Given the roster of famous contributions, it couldn’t really be anything else. ‘LOVD – Part 2’ stands out, in a hugely powerful way and the sheer drive and exuberance within it, combined with its magical narrative style and easily accessible visuals make it an exceedingly special and memorable album. The height of operatic metal, stunningly delivered.

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

For fans of Aonia, Queen, DIO, Yngwie Malmsteen, Stratovarius, Nightwish, Lacuna Coil, Within Temptation, Delain, Evanescence, Velvet Insane, Steve Vai, Joe Satriani, Shahyd Legacy, Ice Sword.


Posted December 5, 2018 by jennytate in Uncategorized