Archive for June 2019

Final Coil – ‘The World We Left Behind For Others’   Leave a comment

Introducing Final Coil’s brand-new album, ‘The World We Left Behind For Others’. Complete with deeply imaginative and thought-provoking artwork, by Andy Pilkington, of Very Metal Art, it follows up 2017’s seminal album ‘Persistence Of Memory’.

Ash’s – Opening gradually, as if into a tunnel, to another world. Smooth guitar riffs, dancing with the light and melting into each other segue into a plucky section, growing increasingly proggy.

The Last Battle – Continuing the plucky riffs. Vocals coming in, down an alternative route, with grunge inflections. Slightly similar riffs now to those on ‘POM’, down tuned bass segments, interacting with the higher pitched riffs, in an inventive melody. Fading out on mysterious contemplative lyrics and a slightly dark atmosphere.

Scattered Dust – Altogether heavier intro, even more sinister and wandering. Vocals entering earlier, in an ominous tone. Speeding up, the riffs take it up to higher ground. Still, that dark lyrical thread persists. Some particularly eerie riffage in there, playing out the atmosphere of the time. Moving up now, into a higher vocal register, building in strength, with an almost hypnotic edge. Flying off into the distance, the riffs grow shriller and more rhythmic, as it fades out.

Take Me For A Walk – Introing on an easy beat and accessible riff melody, it lets you relax into the flow. Slow and steady, with a strong grunge emphasis. Bringing in a touch of feedback, vocals coming next. Catchy hook to that chorus. Intriguing lyrics. Fading out gently.

Empty Handed – Introing with a slight Sabbath-esque groove there, echoing their ‘MOR’ era, with a powerful riff, the melody growing. Quick rhythm follows, displaying an in and out essence. A melancholic edge to it, but still maintaining that faster beat. Riffs opening out, onto a carpet of imagery, growing ever lighter. Strongly atmospheric. Vocal emphasis building in power, yet always a restrained air about it. Fading out gradually.

Keeping Going – Plucky riffs opening, with an altogether higher vibe. Mood lifting instantly, kept up by a consistently lighter vibe. A simpler melody gives this one an easier, more accessible edge. Fading out on the same sound.

Convicted Of The Right – Opening onto some very chilling lyrics and surrounding battle sounds. Eye-opening and thought-provoking. Riffs getting more and more shrill, till the visual ending, of chaos and aftermath. Brief, but intense.

Ashes Ashes – Piano intro, on another similarly sinister tone. Vocals matching. It’s definitely a darker sound, but there’s still light within it. Briefer, but no less atmospheric.

One More Drink – A shadowed sense enshrouds this, like a veil. Another short one, focused around a continuous beat. Purely instrumental.

And I’ll Leave – Taking the mood back up again, with a higher vibe, but only slightly. There’s still a significant morosity, but it is a little more light. Some nice smooth riffage in there. Very emotionally reflective.

Imaginary Trip – Introing on a measured grungy rhythm and melody, with that same sense of loss and hopelessness captured within it. A strong narrative to this and a picturesque bleakness pervades it. More vocally focused. A haunting quality emanates. There’s a smooth fluidity to this track, which just glides through it, till the end, formed by a minimal plucky quiescent riff, leaving an air of mystery.

The World We Left Behind For Others – A very doom entrenched intro. Like a much heavier version of The Cranberries’ ‘Zombie’. Possibly the most thought-provoking track, which is, of course, fitting, for the title track. Vocals entering at a later point, with a definite aggression, painting the picture, in words. Somehow, there’s a greater ease and acceptance about this one, whilst still being emotive about the theme. Evolving into a catchy, if morose chorus, surrounding the poignant piano section with shrill feedback riffs, on which, it ends.

Overall – Melodically, it’s definitely a different direction, in deference to the theme. It is, though, just as imaginative and thought-provoking as ‘POM’. The production’s as flawless as I’ve come to expect from FC and the depth of focus on channelling of emotion’s superb. Something, however, is missing, for me, in ‘TWWLBFO’ and that’s lightness and catch. Whilst the subject matter doesn’t necessarily lend itself to mood lifting properties and must be respectfully and therefore, realistically portrayed, this album’s just a little bit too gloomy for me. No quarrel at all with its technical proficiency, nor its musical craftsmanship, both of which are always in full supply and of top-notch quality, with FC. It just doesn’t quite hit that spot, in terms of mood enrichment. Extraordinary effort. Just missing the spark.

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

For fans of AIC, Black Sabbath, Nirvana, Martyr De Mona.

Posted June 30, 2019 by jennytate in Uncategorized

Misticia – ‘XVA’   1 comment

Misticia, a band originally from the Andes, Suacha, Colombia, were founded in 1999 and incorporate everything from traditional folklore, Latin and pre-Hispanic, right through to sludge, doom and death metal and everything in between. They were one of the founders of native Spanish and English lyrical combinations.

Now based out of Germany and Spain, their work, to date, includes EP ‘Welcome To Utopia’, album ‘Sickness Of The Earth’, (with mastering by Andy Klassen, Krisum, Belphegor, Holy Moses, Legion Of The Damned) and this year, they’re releasing a 3rd album, entitled ‘XVA’, featuring Daniel Bergstrand (Meshuggah, Behemoth, Dark Funeral, In Flames, Syl and more). Mastering by Jamie Gomez Arellano, at Orgone Studios, UK.

‘XVA’ is inspired by Sun, the God of the Muiscas, an original Andean people, from Central Colombia. Boasting a great deal of linguistic inspirations and artistic creative cultures, ‘XVA’ is a 12 track concept album, with myths and legends, as well as the conquest of America at its heart. Vocalising hitherto unheard voices, within the metal scene, it creates its own self protective construct out of that.

The album’s cover art refers to various Muisca Gods, for instance, ‘The Frog’ Rain God, The Snake and The Lartija. Showing, symbolically, the seal of Misticia, (oka The ‘Frailejon’, an indigenous plant, over 2000 years old, grown only in the Paramos.

The very first Colombian metal band to record in Europe in 2002/3, Misticia did so at the Stonehenge Studio, Bonne, Germany.

Their live gigs are known for dazzling light shows, video screen intro’s, traditional Andean dress and the sharing of coca leaves with the audience.

Lately, they’ve been touring to promote ‘XVA’, during which, they’ve opened for Venom Inc, in Bogota and wowed the crowds, around Pereira, Ibague, Villavichencio, Zipaquira and Suacha. They played to a rapturous audience, at sold-out shows.

Still astounding the fans, on the European tour, ready to share the stage with renowned German thrash band Exumer. During 2018, they also toured with Argentinian band A.N.I.M.A.L., completing their new album with well-known producer Daniel Bergstrand, at the helm, at Dugout Studio, Uppsala, Sweden. Their way of recording is to do so in the traditional analogue way, which Misticia have always done.

As early founders of Latin native metal, Misticia have a strong foundation of live experience behind them and are prepared to continue the same path.

Suacha – A crash of drums intro’s, with a buzzing riff and vivid death vocals. It’s a big sound, from the start. Slamming walls of sound surround this track, enclosing it in complex darkness. Lots of very involved directions and techniques interweave, with the overriding sense of heavy industrial darkness. It packs a great deal into its delivery.

Aperrear – Banging drum opening. Unfolding onto a scene of carnage and visual explosions of atmosphere. A shorter track, with similarly gravel encrusted vocals and a strong grime emphasis.

Mallku – More measured, mid-paced drum rolls intro. A sense of impending doom infiltrates the riffs and lyrics. Some screechy riffs and a driving metal core feel. Drums speeding up, a cloak of blackness covers the track, as it reaches an end.

Yohualli – Powerful heavy concrete intro, with a phalanx of warriors entering. A ritual chant fits over the top of the persistently grimy rhythm. Growing ritualistically stronger, this isn’t a sound you want to hear late at night, in a darkened room. Ending on a few insistent drum hits, it’s patently aggressive.

Marrichiweu – A more AIC-esque grungy intro here, this is certainly more relatable. Moving the groove down, into a ‘Check My Brain’-esque manner. Still much heavier than your average band of this nature. Again, that menacing mantra overlays it, with murderous intent. Even in another language, the intention is everything and is well conveyed. A stop start section bridges it, just before the end, which is bashed out heavily, by the drums.

Burukaccossi – An electrified, high-pitched riff intro’s, followed by an extremely brief, blackened vocal and then it’s over.

La Chucua – A melodic acoustic riff opens, flowing downwards, in perfect formation. Surprisingly mellow. Fretwork picking out those notes beautifully, bringing in a flamenco-esque section, joined by panpipes, evoking a Peruvian atmosphere, of exquisite beauty. Gentle and pure, it’s an instrumental, reflecting notable quality.

Thanksgiving Day – Once more, the solid industrial machinery returns. Deathy, black vocals follow, in monster form. Fading in and out, in intriguing fashion. Always consistent, in lyrical emphasis. A repeating rhythmic pattern reveals itself, within the accompaniments, in an almost mesmeric manner. A longer track, with a heap of strategies thrown into it.

Hazanas Sanguinarias – Neatly executed drum hits intro, moving into a busy section, packed with aggression. More monster vocals. A very brief track.

Sin lu dios – A scary vocal intro you’d want to run from, if it was chasing you. There’s an immense determination about this whole album and it’s particularly prevalent here. Very raw and cutthroat. Vicious and frighteningly intense. A lot of strength embodies the lyrics, relentless and incessant. Packing loads of drive into the drums, as it slithers towards an end, the overwhelming message seems to be danger and it’s certainly very plausible. Fading out, on a final, well-controlled riff, lingering in your mind.

Ally Shamushka – A much more defined, straight out heavy-metal intro, with a slightly unexpected Lemmy-esque vocal. Quickly moving down, into an accompanying beat, but then it’s over. Definitely an abrupt edge to some of these tracks.

Delay de las Indias – A spoken intro, with a fairly gentle tone, but with just as much conviction accompanies the softer riffs, in a closing melody.

Overall – Deeply unusual and highly complex, ‘XVA’ showcases a vast wealth of cultural references, drawing on a lot of resources to do so. An intelligent structure, with countless in-depth arrangements, there’s a real depth and profundity to it, that shakes things up and diverts away from the mainstream. What you might call a ‘thinking person’s album’, ‘XVA’ defies perception and crosses boundaries. One-of-a-kind.

8/10 ********

For fans of X-Method, Satarial, Wykan, Knifesex.


Posted June 28, 2019 by jennytate in Uncategorized

KLYNT – ‘This Is Revenge’   Leave a comment

A vivid combination of coruscating thrash, epic metal, extraordinary poignancy and heavy industrial machinery, KLYNT, from Austria, are a mass of insane and exciting contradictions. Driving home the pertinent message that it’s all about the metal alone, they’ve crafted their new EP, ‘This Is Revenge’, on the old school sound and thrown their own signature spin onto it. Influenced by the likes of Judas Priest, Motorhead, Manowar, Testament, Iced Earth and Megadeth, KLYNT keep the flame alive, whilst keeping it real.

Bringer Of Doom – Raw, enraged, animalistic attack intro’s, against a backdrop of electronic gadgets and a voice distortion, prophesying doom. Short, but to the point!

Wildaxe – Electrified riffage opens, with equally wild vocals, to the melody of a massive battle hymn. Edgy, cutting, maximum strength performance. Imagine Turisas, combined with Wrathblade and Grand Magus, jamming with Enforcer in their midst. You’re there. Metal heaven, on an orgasmic level. A heavy breath of fresh metallic air.

Bloodstained And Driven – Kicking things off with a classic drum section, harking back to the heyday of classic rock, in the Twisted Sister vein. Hugely powerful group vocals, anthemically themed, everything turned up to the max, always keeping the beat up and going. Here, the screams are more melodic than the main vocals, but what they lack in melody, they more than compensate for with passion and complete conviction. Fading out on a basic, steel riff, mixing up old school rock with speed/power metal, from the NWOBHM era, it’ll knock your socks off.

Berserk Prayer – Crash! A metal assault lands at your feet. More new wave power screams, overtaken by gigantic vocals, interweaving with them, in an interplay of pure pleasure and entertainment. Once those catchy riffs hit, you’ve just got to go with it and join in, as if the mosh pit’s just materialised in front of you. Dazzling.

Question Of Steel – A more gradual poignant intro, losing nothing in power. Speed riffs leading to another face on thrash attack. Again, less tuneful, in vocal terms, but yet it doesn’t seem to matter, given the energising screams and the ultimate strength of the track. It’s just an epic fest of thrash, speed, power and Viking-esque metal, with the most addictive riffs and rhythms to kill. Like a giant metal warrior of all your fantasies, coming towards you, like a metalled up fairy tale, come true. Insanely good fun and fantastically memorable. These guys know the meaning of metal.

Overall – Extraordinary. A full-scale extravaganza of metal, with energy, attitude and excess, in spades. Bags of fun and entertaining as fuck, ‘This Is Revenge’ is a star in the dark night sky.

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

For fans of Anthrax, Enforcer, Turisas, Grand Magus, Wrathblade, NorthHammer, Twisted Sister, Axxis, Sabaton, Portrait, Crowning Glory, Voltax, Cast Iron.

Posted June 25, 2019 by jennytate in Uncategorized

Damage S.F.P. – ‘Damage S.F.P.’   Leave a comment

Formed in Liminka, northern Finland, in 1989, whilst at school, Damage S.F.P. are a 3-piece thrash metal band, in the image of Metallica, Megadeth and Pantera. Returning to the fold, they’re ready to play again.

Having released 3 demos, in the 90’s, they then added a promo tape, to secure a record deal with German Noise Records, who had their eye on Damage S.F.P. for a while. As the latter tracks from ’94 were more allied with death metal and 3/4 beats, these negotiations broke down. They still continued performing up until 1996, when the band split and went their separate ways.

Early 2018 saw them re-form and commence work on an album. The first single from the self titled album was launched during February 2019 and on 14th June 2019, the album was released, via ROCKSHOTS RECORDS. Some 30 years after their initial formation, Damage S.F.P. are back!

Ride – A slow rumble of a heavy vehicle intro’s, followed by a massive loud blast of thrash metal. Great classic rhythm, echoing the general style of Metallica. A fun ride, through true metallic territory, back to the old school sound. Proper thrash thrills, to blow your speakers, as mine are nearing explosion.

Death Of Innocent – A chilling oration opens, unfolding into death roars and raging lyrics. Again, it’s a blizzard of thrash. Made for metal. Good strong supporting back beat, fiery flames of riffs and well timed, strategically positioned cymbals. It’s infectious earworm stuff and it never loses its relentless drive.

Ruthless Fate – Banging explosive intro, made of fabulous twiddly riffs and a ten ton strong drum section. Grit in the vocals, rolling on, like a road roller, on a metal mission, till the end. Brief, but incredibly chunky. Top-quality thrash, throughout.

Tyrants – Political oration opens, with a very relatable sentiment! Instantly, the thrash takes over, beating your brains to a pulp, with that sexy Hetfield-esque stuff and a general air of rough masculinity. Have a bite of this and get high on the slabs of concrete heavy thrash melodies.

Insomnium – A ‘Holy Diver’-esque gust of wind intro’s, with a gorgeously profound acoustic riff. Full of pathos and poignancy, it evolves, into a beautifully fluid melody, with a flamenco-esque edge. A pure instrumental, proving Damage S.F.P. are far from one trick ponies and they certainly have the chops to diversify, from mind blowing heavy thrash metal, to gentle acoustic, with the quiet confidence necessary to make it.

Ode To Sorrow – Once more, the blatant slabs of metal are thrown down, with the catchy rhythms. Moving back into death laced vocals, combined with a touch of Pirate/Viking metal and basing it very much around the powerful rhythms and associated visuals. As heavy as it gets, with a notably well held note and a strong, Grand Magus air, as it steers the metal ship onwards, throwing you from side to side, as it does, till your whole being’s rocked to the max.

Tragedy – Random sounds of stone slabs being moved, overtaken by vividly intense thrashing riffs. Very much in the vein of Metallica’s ‘Kill ‘Em All’ era. Palpably strong drum beats, crazed shredding and machine gun-like sounds, as they lay the beat down. Similar to Savatage, in style, it’s just sexily relentless.

Grain Brain – Introing on a few simple strong cymbal hits, the thrash comes straight in again, with a full frontal attack. Fast, furious and once more, the strains of Metallica are evident, this time from their ‘Ride The Lightning’ era. It’s a shorter number, but definitely no less powerful or vicious, for that.

In Termination – Bang! The best way to describe that intro. Heavily strong, catchy sounds and lots of vocal grit. Great frenetic pace and an immensely classy rhythm. So delightfully melodic and full of all that’s great and passionate about metal). Those beats’ll get in your head and possess you. Gorgeously precise, perfected fade-out. Just a beast of a track, with classic metal hit written all over it.

Burst Of Rage – Intensely furious riffing opens. Steamy and hot, with Viking imagery, of the seas rising, as they steer the ship on, to battle. Hitting a faster pace, as the rage heightens. Very brief, with a very abrupt ending, which is one way to tease and has the desired effect.

Overall – Damage S.F.P. (don’t ask me what the S.F.P. stands for) is a stonker of an album. Absolutely chock full of grindingly heavy thrash, with heaps of melody and a strongly classic vibe. This is for those who like their metal ultra heavy and ultra-sexy. It’s got both, in spades and its production is flawless. A testament to the blatant fact that metal is not dead!

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

For fans of Metallica, Savatage, Pantera, Grand Magus, Sabaton, Line Of Fire, Trucker Diablo.

Posted June 24, 2019 by jennytate in Uncategorized

Heather Wasteland – ‘Tre Sverd’   2 comments

Now available in physical and digital format, with artwork by Nickholas Mortem (MERKNET), ‘Tre Sverd’ is the new maxi single from Heather Wasteland, a 3 bass heretical folk art, folk metal, viking metal band, from the Cimmerian shores.

Composed in 4 different mixes, the maxi single ‘Tre Sverd’ goes back 20 years and is recorded in English and in Russian. An instrumental, its style has evolved in that time.

Featuring members of CHUR, Ukraine, RIMMERSGARD, Germany, MORTIIS and ex-Vond and Emperor member, Norway, the English radio version also contains a spoken word section of ‘Heimskringla’.

The 2nd version is a Nordic folk arrangement by renowned Russian band Liholesie, containing a harp section, by Elanor and features the aforementioned guests. Jawharp, string and wind instruments and electronic sections recorded by Liholesie.

It’s Russian version features Vladimir Ryazanov, vocalist from Prog/Oriental blackened death metal band ETHNOR and CHUR and MORTIIS.

Originally untitled, ‘Tre Sverd’ was written in 1999 and continued to be nameless, after HW formed, in 2001.

The inspiration for the title hit during spring 2003, at which point, HW had disbanded. It came to AR, whilst in Norway, when he saw the building erected in memorial to the battle of Hafrsfjord (872), known as ‘Sverd i f jell’. It stands as a testament to what was perceived by the Vikings as the bloodiest and most momentuous sea battle. It’s said that the werewolf warriors took part, as is claimed by Snorri Sturluson, within the ‘Heimskringla’s ‘Saga Of Harald Fairhair’.

As the music was influenced by MORTIIS’s album, ‘Crypt Of The Wizard’ (’96), it’s more than mere coincidence that MORTIIS features.

Tre Sverd – Introing with sounds of the waves, lapping against the shore, oars through the water and viking battle. Folk legends follow, told through traditional song, slightly echoing the style of Turisas. Precise, in structure and delivery, refreshing variety of styles, featuring a brief spoken word section. Impressive vocals, both strong and plausible. A very visually evocative track, with passion showing through and a lightness of touch, whilst being simultaneously powerful.

Tre Sverd – Version 2 – Opening similarly, but with a marginally more restrained air. Gradually emerging, as if from a cocoon, again, that feeling for the subject’s clear. Quite a catchy thread about it and the harp’s such a beautifully rare inclusion. Rhythmic and just holding back on bringing the entirety of its passion through, till absolutely necessary. Holding the final notes carefully, there’s a gorgeous melody, quite picturesque, in its own way. Closing on a return to the shore, the timing is everything, within this version.

Tri Mech – (Version 3) – A similar intro sound, but this time, the mid-paced drumming joins the ocean echoes, followed now by stronger combined vocals. A nice easy rhythm to follow, with more powerful accents, strongly enunciated through the lyrics. Mixing up the spoken aspects well with the sung vocals, reaching a heavier crescendo at the end, the story’s almost told, by the feelings alone.

Tre Sverd – (Version 4) – Opening on a gentle, cultured sound, incorporating folk instruments, with the underlying bass. A pure instrumental format, the atmosphere builds, with the inclusion of more complex and mixed structures, with woodwind accompaniments. Increasing the strength of the evocations, till the end, it’s a beautiful portrayal of its tale.

Overall – A refreshingly gentle work, with a deftness and lightness of touch, which instantly calms and pacifies and yet still reveals the strength of its hand, where necessary. It’s a strongly intuitive piece, with a natural sense, bringing its story to light.

8/10 ********

For fans of Liholesie, Falagar, Turisas, Tyr.

Posted June 21, 2019 by jennytate in Uncategorized

Eva Bartok – ‘Chess Club’   1 comment

Prior to the post punk metal band Eva Bartok’s forthcoming debut self titled EP, take a look at YouTube, for a sneak peek at their associated video, ‘Chess Club’.

Much of the EP’s focus is concerning mental health, the role of music in preserving it and basic human rights and the ongoing fight for equality for all.

Unusual as it is, the band moniker is actually inspired by the actress of the same stage name, who played the lead role in Italian film ‘Blood And Black Lace’, a film which, in itself, also influenced scores of modern filmmakers; Dargio Argento, Martin Scorsese and Quentin Tarantino amongst them.

The EP will be released on August 23rd, 2019. Produced at Corner House Studios, Cardiff, with Liam Ross (Sylosis, Monuments, Hark), Fudge Wilson (Exit International) and Kurtis Bagley, of Luna Crown Audio (Holding Absence), it’s a wild, free, untameable beast, with a serious message.

Having much in common with the general theme amongst the metal community, of a strong aversion to present pop and mainstream trends, coupled with a mutual penchant for loud sounds, metal and punk, EB aim, through their music, to enable others to express themselves and their own feelings about life.

Tackling pertinent real-world issues head-on, the 4 track EP addresses such dilemmas as social isolation, inter/intra personal conflicts, settling for the average lifestyle, reluctance to take risks and the disastrous effects of politics. Within each track is a message and a real inspiration. As a whole, it’s very much about perseverance with our true ambitions and seeing them through, to the end.

In a scene of sameness, EB is a one-off unique blast of noise, creating a new direction. EB are currently a 3 piece.

Chess Club – Yes, the horse’s head is bizarre and freaky! Introing with an unusually alternative sound, with some scenes of everyday life and some of the more extreme aspects of current society, it moves into a classically punk noise, with all the inherent anger and frustration. Given the animal mask theme, it’s starting to seem like a furry convention. Featuring not just the horse, but also a fox and a zebra head, it’s hard to see where it’s going and also makes it difficult to focus on the music. A lot of random scenes, thrown together, with an unclear connection. Very brief, with a strong emphasis on the shoutier end of punk, it just seems like a disparate collection of scenes, with only the sound in common. Though the mundanity of daily life does seem to be a recurring theme. In saying that, there are some very strange and quirky scenes aswell. Not sure what it’s all about. Avoid watching during mealtimes.

3/10 ***

For fans of Fleshpress, Flesh Eating Foundation.

The EP ‘Eva Bartok’ will be released on August 23rd 2019.

Posted June 20, 2019 by jennytate in Uncategorized

Infamy – ‘Age Of Deceit’   Leave a comment

A traditional heavy metal hard rock band from Bangalore, India, Infamy’s sound is very much rooted in the 80’s era of classic rock and metal. Amongst their inspirations are Iron Maiden, Judas Priest, Black Sabbath, Saxon, Megadeth, Accept, Motorhead, Whitesnake, Thin Lizzy, Blue Murder and Badlands.

Infamy have been together since 2016, since when, they’ve experienced many line-up changes. Work on the debut EP, ‘Age Of Deceit’ began in 2018 and was interrupted, but not prevented, by said personnel changes.

Following a 6 month sabbatical, Infamy returns, with a brand-new 5 piece line-up. ‘AOD’s anticipated release date is July 2019.

Hellfire – Blazing riff intro! Instant hard-hitting metal. Very classic, in sound and style. Lots of bass and a heavy deep foundation. Catchy melody, plenty of hooks and a gritty vocal cements the memorable title in your mind. It’s definitely got a powerful buzz about it. Also, a hint of southern rock, creating strong visuals, to go with the lyrics.

Fatal Freedom – Sharpened, lively riff introing. Great fast pace, hugely catchy and accessible. Notably strong vocals. This has got a real crunch to it. Very much for those with a thing for heavy bluesy rock. Some yummy paradiddles in there and never releasing that sexy hold on the pace. The bass does a great job of keeping the underlying tempo just right for this track and it’s just a really easy number to get into.

Age Of Deception – Opening with a sound of unfathomable origin, rapidly followed by sexy, smooth riffage. Vocals keep the pace well and also, the hard line. Nothing out of place. Highly melodic tuneage and even, a very Grand Magus-esque section in there aswell. Rolling towards an end, it’s perfectly in sync and it works. Ultra metallic and ultra rocky.

Day Of Retribution – Massively heavy intro, launching right into the sexy riffing). So rhythmic, heaped with melody. This is probably the standout track. There’s a real vibe to it, catchy as hell and lyrically evocative, with a brilliantly apt pace, artfully executed. Loving some of those riff tones to death! Plus the electrifying slide elements. Heating it up, to a fiery level, ready to consume you, whole, it burns out on a smoky riff, of ravaging quality.

Smoking Gun – Wow! Another fiery riff intro, ably assisted by surrounding drum rolls, building a pyre around you. Immensely heavy, addictively catchy and skilled delivery. Loads of rhythm. Fabulously classic sound, singing throughout it. More of that delicious slide riffery, (is that a word?) with such an edge. Once more, everything’s in sync and it’s just so damn sexy! Rocking and rolling to an end, you just can’t help but get irresistibly caught up in it.

Overall – The perfect piece of rock-based metal. All the right ingredients, it’s a shocker of an EP, in a fantastic way. As a debut, it leaves you excited for the follow-up and hungry for more.

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

For fans of Line Of Fire, Grand Magus, Heavens Basement, Kickin’ Valentina.

Posted June 17, 2019 by jennytate in Uncategorized

Hellvadec – ‘Discomfort’   Leave a comment

Available now, ‘Discomfort’ is the debut EP from Italian metal band Hellvadec. Consisting thematically, of their own perspectives on standard life experiences, love and basic human emotions, it’s an alternative metal offering, with melodic, heavy emphasis and is female led, vocally. Hellvadec are a 5 piece.

Iron Soul – Instant thrash sound hits, with shared male and female vocals. This has got the edge already. The catch soon appears. Very much along the lines of Love Stricken Demise, Action City Blackout and Vixen, with a strong touch of Megadeth/Metallica influence. Well employed piano section closing, bringing a hint of softer poignancy. It’s a strong track, with a lot of potential.

LoViolence – Hard edged intro, refreshing in its masculine feminine vocal duo. Both powerful, in their own right and even more so, together. Booming drums, suitably heavy riffs and holding some difficult notes well. A very capable performance. An apt suggestion of lurking threat of danger, throughout, increasingly prominent at the end. In fact, it’s further reinforced by the sinister whispers closing.

Some Are Meant To Be Free – Drums opening, solidly, leading into equally heavy riffs and a well able vocal, handling the style of the sound perfectly. Impressive sincerity bleeds through everything. I can’t fault it and it’s just a great, lively listen, with a definite edge.

Plague – Bass intro, setting the scene for what follows. A hard hit of the cymbals opens the way for more of that delightful aggression. Riffs fitting right in, with their edgy technique. Some very decent drum rolls, adding that extra touch. Growing heavier and rawer, till the death/thrash-esque ending. It’s pure synchronistic power.

Overall – For a debut, this is extremely impressive. The heart and soul’s audible, right from the off. These guys have passion in spades and it shines through every single note. An unmistakable edge is clearly present and it’s one which is rare, at this early stage. As are those razor sharp vocals and the precision with which they hit and hold each note, however awkward. Just completely unfazed by tones that would stump many far more experienced bands. ‘Discomfort’ is a shining, metallic gem, amongst the rubble.

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

For fans of Love Stricken Demise, Vixen, Action City Blackout, Almost Dead, Megadeth, Metallica.

Posted June 16, 2019 by jennytate in Uncategorized

Infrared – ‘Back To The Warehouse’   Leave a comment

Self released, on 14th June 2019, through CD Baby, ‘Back To The Warehouse’ is the latest EP offering from Canadian thrash band Infrared.

The antithesis, in metal terms, of the very concept of passing trends, Infrared have never deviated from their pure thrash roots. Around since the 80’s, they formed at school and began producing music in ’85. The first of which was ’88’s ‘R.I.P.’ A 27 year break followed, with their momentous return marked by the albums ‘No Peace’ (2016) and ‘Saviours’ (2018).

Today, they’re just as rooted in the thrash sound of before, with added modern themes, revolving around simple, unchanging truths, echoed through the music. With nods to The Big 4, the 5 track EP, ‘BTTW’ marks the final chapter of their old school material, ahead of the new studio album.

Infrared have been honoured enough to have played alongside: Anvil, Flotsam and Jetsam, Udo Dirkschneider, Sacrifice, Varathron, DBC, E-force, Vortex, Atrophy, Venom Inc and played Mountain Man Music Fest, Calabogie, in 2017.

Meet My Standards – Straight into an all-out thrash attack, to shake the walls. Great bit of electrified slide going on, early on there. Buzzing beat and a very Metallica/Megadeth-esque riff and vocal section. Definitely closer to Dave Mustaine, in vocal terms. Ice cold, sharp, cutting sound brings down the law on this one. Massively heavy, full on melodic thrash, with speed adding the extra touch. Filled with crazed rhythms, a wild riff brings the curtain down and its done. Definitely worth the wait!

One Mouth Two Faces – Hard lined, edgy drum intro beats its way in, crashing through the doors and relentlessly smashing them down. This is majorly powered stuff. A breed apart from the rest and very free with a double strength powered riff. Some fabulous melodies in here, still tearing your face off, with their maximum dose thrash mania. Just stacked with all the best elements of old school, classic thrash. So plausibly delivered, with absolute conviction, fading out in such a way that there’s no ‘fading’ about it. Brutal, in-your-face, full frontal metal.

Hate Today, Despise Tomorrow – Intense, athletic drum roll intro’s, with a slicingly acute riff, tearing its way up the fretboard, at lightning speed. Classic strong bass line, keeping that vocal edge, easily and pouring every ounce of available aggression into it. Now, introing some more of those fabulous melodic riffs, hitting the heights of metal heaven. A pure thrash fest, of enthralling proportions. Flawless, extraordinary audio values and just a red-hot flare of ‘infrared’metal.

Animated Realities – Right in there, with deeply delivered maximum strength riffs again. The rhythm really will get you. An addictive mosher’s paradise pace. Nothing to fault here at all. It’s just consistent intensity, to an epic degree. Aggression so raw, you can feel it blistering your face and shredding it, like a cheese grater. Stacked high with hugely infectious riffage and thrash melodies aplenty. It seems to get heavier and heavier till it’s almost ecstatic. Astounding energy, throughout. Fading out on another heavily defined riff.

Wrathchild – Immediately infectious Maiden cover! Metal magic, from the start. Now this ain’t an easy one to pull off, but let me tell you, they’ve done it, to gold medal standards. Every nuance is in there, showing through, in a tribute I think it’s safe to say Maiden themselves would be honoured by. Already one of the catchiest metal tracks in existence, Infrared make it even more incredibly special. Perfect closer).

Overall – ‘Back To The Warehouse’ has to be amongst the top contenders for best metal EP of the year. Hard to praise it any higher than that. It’s just a blisteringly exceptional piece of paradisiacal thrash metal mania, to die for. Stunningly powerful metal magic, of the highest order.

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

The single ‘Meet My Standards’ is available to view on YouTube, at the following link:

Posted June 15, 2019 by jennytate in Uncategorized

Outright Resistance – ‘Parthenocarpy’   Leave a comment

Introducing the new Outright Resistance UK tour and ‘Parthenocarpy’ video, released on 4th June 2019.

The video was produced by ex Sikth member Justin Hill.

The double whammy tour and video follows the successful launch of the debut album, ‘Cargo Cult’, highly rated by both Metal Hammer and Powerplay magazines.

Tour dates are scheduled to start in July. Karybdis will play support. The 5 piece metalcore act are excited to announce this coming tour and already available video.

Parthenocarpy – Good confident melodic riff intro. Instantly bringing in death roars, throatily throwing out the angry, incensed lyrics. Rhythmic, increasingly infuriated vocals, well structured surrounding accompaniments, injecting real atmosphere. Suitably dark, in background, aswell as sound. A definite tinge of familiar experience to the riffs, echoing those who’ve gone before, especially Linkin Park’s ‘Pushing Me Away’. Lots of energy, displayed through every beat. It’s an effective symbolic representation of the darkness it portrays.

8/10 ********

For fans of Centrilia, Linkin Park.   (Official music video for ‘Parthenocarpy’).

Posted June 14, 2019 by jennytate in Uncategorized