‘Rebels Shall Conquer’ is the new 8 track album from Tyron. Recorded at the well-known Gernhart Studio, (Sodom have also recorded there), ‘RSC’s been infused with new energy, following line-up changes, contributing to its strength. Combining classic thrash, with technical prog, Tyron’s been compared to Iced Earth, Metallica and Pantera. To date, they’ve played alongside such legendary bands as Testament, Helloween, Arch Enemy, Hammerfall, Overkill, Moonspell, Lacrimas Profundere, Axxis, Accuser, Lord Volture and Wizard.
Ex Fallen Angels drummer Steve Spitzbart Linneweber is the most recent addition. Original co-founder and bassist Lars Kaufmann has also returned. This autumn, Tyron will be touring Europe, playing support for Hatesphere and Diabolical. ‘RSC’ is now out on iTunes. It’s received much positive media acclaim.
Mens Fate – Careful, gradual intro, stacked with power. Very crunchy and deliciously heavy, in a Kyrbgrinder-esque way. Notably Hetfield-esque vocals, with added edge. Loaded with rhythm and powerful riffage. Good mix of melody and straight out heaviness, with plenty of bass. Just a ton of heavyweight metal blasting your ears, in the tastiest way and there’s no hesitation, no compromise and no doubt whatsoever of the competent ease with which these guys handle their instruments. Line Of Fire and Trucker Diablo fans’ll draw easy parallels here.
From Prey To Predator – Straight into a high-pitched, speeding bullet of a riff melody, backed up by thunderous drumming and pure grit and gravel soaked vocals. An even harder sound, if that were possible. A tight, yet easy rhythm sets the scene here and more vocal harmony enters. It’s a very fulsome, meaty sound, filled with pure heavy vibes and lethal beats. Impossible to fault.
Murder – Right in to another blast of heavy artillery, which was so heavy, it knocked stuff down off my computer desk). Always a good sign! Managing to keep it melodic, whilst stuffing it full of metal edged steel, it changes pace, mid-way, breaking it down, into an even more involved riff section. The drums mean war and the stop start areas are precisely delivered. No room for anything but all out heaviness in Tyron. Fading out smoothly, again, it’s flawless.
Maverick – Opening on a catchy, creepy bass line, firing it up, into an explosive mist of metal. Once more, those drums mean business and are determined to execute it. Always, that Hetfield sense to the vocals, giving them the edge. Shooting the enemy down, in a hail of bullets, there’s indescribable power in the insistence of that sound. In complete sync, precision timing and gelling brilliantly. If ever there was a genre named ‘adamant metal’, this would be it. Rare to hear such absolute power, not just in the volume, but in the whole delivery and the general sense of the sound. Ending on another round of bullets, disguised as drums.
Sick Of It All – Blazing, searing, razor blade cut of an intro riff and then straight down to business again. No doubt of the level of heaviness inherent in this band. Fast-paced, with an alternation of rhythm, around the mid-section. Racing on again, speeding it up all the way, from there. Vocals growing even more Het-esque, just before it barrels to a close.
Blazing Trail – Bang! Explosive drum and riff intro you wouldn’t want to be standing next to at a live show, but it’s sheer heaven to hear otherwise. This one’s very much drum focused and still loading it up with throaty, sexy vocals and awesome speed riffage. Faster and faster, heavier and heavier, till it consumes you, completely). Almost like a contest between the melodic versus heavy crunch version of good versus evil. An ultimate battle, in which both win as equals.
Beast Inside – Kicking it off with another drum intro and a strikingly Vai-esque riff section. Catchily rhythmic, right into the feel again, taking you with it. An even more cohesive vocal, this time and always consistently heavy. Great big slabs of concrete are thrown down in front of you, like weapons of mass destruction. This is what Metallica and Boltthrower would sound like, jamming together, with Kyrbgrinder, till the walls come tumbling down. (Which is the best descriptor of that drum outro).
Hollister Riot – Another definitive, hard-hitting drum and riff intro, taking it immediately into metallic car chase territory. This is ‘The Black Album’, with 10 x more power and volume. Especially fitting, given the use of the lyrics ‘the struggle within’. Melting into a velvet smooth guitar break, you just want to be swallowed up by, it really shows its chops now, going for it, with all its might. Building it up, into a metal fiesta, of epic proportions and bringing it down, for the stunning crescendo, that is the finale. Inexplicably enlivening.
Overall – This is an absolute beast of an album! ‘Rebels Shall Conquer’ proves that they do indeed do just that. Imagine the bastard lovechild of Kyrbgrinder and Metallica and you’re close to the sound of Tyron. Shot through with heavy metal crunch, killer volume and consummate pro delivery, ‘RSC’ is a Viking-esque level of power, executed with epic precision and gutsy stamina. It’ll leave blood all over your floor.
10/10 **********
For fans of Kyrbgrinder, Boltthrower, Metallica, Line Of Fire, Trucker Diablo.
Hard rock band Archer Nation, from Santa Cruz launched their latest album, ‘Beneath The Dream’, on February 15th, 2019. They’re now out on tour, with legendary thrash band Annihilator, till the end of November 2019. ‘BTD’ is out on EMP and was produced by the renowned Mike Clink (G’N’R’/Megadeth).
I Am The Dawn – Instant hit of melodic riffage intro’s. An addictive thread to this, straight away. There’s a warmth to the sound, interwoven through the lyrical darkness. It’s an easily accessible track, very much guitar driven. Drums forming a strong backbone. You’ve just got to love those riffs, though. Vocal passion increasing, just prior to the impressively held closing note. A powerful track.
Division – Great strong drum intro, heating it up, with a faster pace. Assisted by the looseness of the surrounding riffs, just before the tighter segments follow. Notably melodic vocals, with clearer feeling, strewn through them. They’ve done a good job with that rhythm and it gets catchier and catchier, as it goes along. Riffs growing stronger, with a strategic bit of feedback about 3/4 in, followed by some impressive fretwork. Definitely a standout, join in and rock out number). Ending on a deliciously cohesive drum and riff section, in cohesion with the heartfelt closing vocals.
Beneath The Dream – Gorgeously dark, down tuned low riff intro. Sumptuous. Breaking it down, into a complex, intricate riff section, demonstrating careful, skilled finger-picking. Now, the grit’s becoming clearer, through that Megadeth-esque section. It pulls you in, like a werewolf, disguised as a nobleman. Riffage keeping excellent momentum going. That melody goes down a storm and Dave Mustaine’s being eloquently echoed and it just makes it. Solid.
Acedia – Piercing riffage, designed to deliver an electric shock opens! Again, so resonant of Megadeth. Another absolute acer of a track. Intrigue, volume, creeping, building tension, catchy hooks, heavily melodic, this has got it all. Even a classic bit of Metallica-esque stop start stuff going on there. Another well-placed breakdown changes the pace and direction, around 3/4 in, but not by any offputting measure. Just infectious. Ending on a feisty accompaniment and an edgy vocal.
Not My Own – Hard-hitting bass line, laying down the tone of the intro. Moving smoothly, into a gorgeously fluid riff section. From there, straight into a sexily mid-paced chase style rhythm. So damn catchy. Thoroughly contagious. It goes without saying that this is highly involving and affecting. Bringing it up and down in all the right places. Introing a touch of cymbal work, towards the end and never ever letting go of the thread of that riff magnetism. This is how to rock!) Reign Of Fury fans will definitely dig this. Lots of close comparisons. Brilliant fade-out, you never want to end.
Matricide – Cymbal hits intro, with a Viking-esque riff and bass sound. Opening up a clear visual landscape, through that energetic vibration. This just gets stronger with each track. Fabulously gravelly vocals in here and just a relentlessly sexy riff mastery at work. Creating a strong image, as it fades out, on a carefully executed riff, skidding into the outro. Impossible not to get involved.
Shackled – Heavily powerful drum attack opens. Right into the feel. Faster rhythm, well relatable lyrics. Always, those notes are fabulously held. That riff wizardry is pure magic. Still channelling Megadeth, throughout and it works so frigging well. I guarantee you’ll want to climb inside that guitar and feel every note. Coming to a frenetic, yet well-controlled crescendo.
Severed – The beats are it this time. Palpable opening rhythm. Again, it moves so silkily, into a velvet riff section, embedding the track in smoothness. A clearly softer touch here, working well and very fluidly. Beautiful tones emanating from this sanctuary of metal. Gradually getting heavier, as the rhythm flows on, till the end, finishing on a perfectly coordinated, seamless finale.
Overall – This will take your soul. ‘Beneath The Dream’ is everything you could imagine being inside a metallic dream, rather than beneath it. It’s intensely focused, in the warmest, most entrancing way and it hooks you, from start to end. The absolute pinnacle of metal perfection.
A one-off opportunity has arisen, through star music industry innovators Lightning In A Bottle, for bands and artists to consult with Toby Jepson, of Little Angels and Wayward Sons fame and Rob Town, of Stampede Press, during a touring workshop, in December 2019.
Both will bring to bear their collective wealth of music industry experience, artistically and business wise, to assist current bands, to succeed and attain lasting success. Toby and Rob, having both performed and otherwise worked alongside some of the most globally renowned artists in the rock and metal industry, are well placed to offer constructive tips and advice to others.
The workshops will take place in various rehearsal spaces, throughout the UK. Looking at musicians’ aims and objectives, they’ll build an individualised action plan, for the artists to go ahead and implement. Each 3-hour workshop will discuss and revolve around the very real themes and issues affecting musicians today, emphasising the factors directly influencing artists’ material.
Any bands taking advantage of this special opportunity to create novel ways of enhancing their careers will benefit from the unique profile this will enable them to build. It’s intended as a springboard, from which to launch and assist artists to move forward.
Its main points include: learning and accessing the inner workings of the music business; crucial advice for maintaining optimum mental health, throughout the process of establishing your band/music and an individually crafted Q and A session.
During the event, Toby and Rob will share some anecdotes from their own music careers, from some of their most pivotal experiences.
The workshops will begin on November 30th, in Birmingham. (See attached poster, for more info).
Toby and Rob, sharing their personal highlights of presenting such workshops, are both equally excited, to play such pivotal roles in helping bands succeed, on a one-to-one level.
Bookings for LIAB’s workshops are limited, so grab your tickets fast.
LIAB is a music management consultancy, designed by musicians, for musicians. The talent behind it comes from long established experience, within the business. It aims to be a platform of solid support and guidance, to help musicians break through the industry, with a genuine signature style.
Amongst the many accolades TJ has to his name are Little Angels, achieving UK top 40 hits, a no.1 final album, ‘Jam’ (’93), culminating in a sold-out farewell show at The Royal Albert Hall (’94). He’s also fronted Eddie Clark’s Fastway, (2007-2017), sang in GUN and fronted Dio’s Disciples. In a production capacity, Toby’s worked with The Virginmary’s debut esteemed album ‘King Of Conflict’, Saxon, Fastway, The Answer and written, arranged and produced for Toseland. Aside from which, his credits also include writing and co-writing for Katie Melua, Dan Reed, Russ Ballard, Biff Byford, Hugh Cornwell, Matt Sorum, Giuiliano and Dante Gizzi, James Lomenzo, Brian Tiche and Jim Vallance.
Toby’s current band, Wayward Sons, are considered one of the U.K.’s most prominent hard rock bands. In 2017, Planet Rock Radio’s listeners voted their debut album, ‘Ghosts Of Yet To Come’ no. 8. They were voted Best New Band in P.R.’s Rock Awards 2018. Their new album, ‘The Truth Ain’t What It Used To Be’ is available now, on Frontiers Music Srl.
Rob Town has more than 30 years experience in the music industry, most notably, co-managing and writing and playing bass for Panic Cell. Having a traditional business background has given Rob an overall view and a balanced approach.
Panic Cell played alongside such high-profile bands as Metallica, Alice Cooper, Disturbed, Slayer, Megadeth, A.I.C., Papa Roach, Skindred and Anthrax, aswell as performing at prestigious festivals, including Download, Sonisphere, Bloodstock Open Air, SXSW, Wacken Open Air, etc. They were frequently featured by the likes of MTV, Kerrang, MH, XFM and Scuzz TV, on which, PC hit no. 1 on the most played chart, in 2004, along with Linkin Park, Slipknot and Evanescence. They also featured in ‘Fur TV’, 2008’s MTV Muppet TV spin-off, leading to frequent starring roles, both within episodes and on the show’s soundtrack and the YouTube multi-million viral video ‘Fat Ed’s Furry Guide To Metal’.
Stampede Press, Rob’s own PR/Marketing company came into being in 2012, after PC’s last show, to a full capacity venue, at Sonisphere Fest, 2011. Well esteemed for his ‘quality over quantity’ approach and for his focus on better health for all, amongst his many credits are Terrorvision, Winger/Kip Winger, SOiL, (Hed) p.e., Richie Ramone, Jizzy Pearl (Love/Hate), Krysthla, The Virginmary’s, Devilskin, Samarkind, Matt Mitchell And The Coldhearts, The Rocket Dolls and of course, Toby Jepson/Wayward Sons, etc.
Rob and Toby co-founded LIAB in 2018 and in 2019, Rob passed an MA in Music Industry Innovation And Enterprise, with WaterBear Music College and Chichester University.
Psychedelic Stoner Rock doomsters Cybernetic Witch Cult now unleash their new lead single and video, ‘The Myth Of Sisyphus’, ahead of the later 6th December 2019 launch of the album, ‘Absurdum Ad Nauseam’. The track also precedes a lengthy tour.
‘TMOS’ symbolises the reality of the bizarre world we inhabit and features a satirical angle on it. With its roots originating in the philosophical study by Albert Camus, the band have also added some personal touches, for instance, the construction of a boulder, as a symbol of the practical stumbling blocks involved in touring a band.
CWC have previously featured at Bloodstock Open Air and also headlined the 2nd stage, at 2018’s HRH Doom V Stoner Fest. They’ve also been in Classic Rock mag’s ‘Psychedelic Stoner Pink Floyd’ edition, in addition to featuring on the cover mount album. Terroriser and Powerplay have also featured them.
Following their tracks being used as backing tracks for 2 of youtuber/inventor Colin Furze’s videos, each track hit more than 1 million plays.
Founded in 2015, CWC are inspired by 70’s rock, stoner, sludge, prog rock and doom metal. So far, they’ve launched 3 independent releases, including a demo and 2 studio albums.
Already, they’ve acquired a wealth of touring experience, comprising over 100 UK venues and have headlined and co-headlined with such bands as Doctor Cyclops, Morass Of Molasses, Ritual King and Lacertilia.
Beginning as a fun live venture, with the initial gigs featuring a wide array of inventive props, CWC rapidly found their niche, within the fluidity and creativity of riff-based sci-fi.
Marking their presence at various all dayer’s and countrywide fests, including Facebarmageddon and Surplus Fest, the range of bands they’ve played alongside includes: Blood Ceremony, Karma To Burn, Acid Mothers Temple, Duel, Ecstatic Vision, Tribulation, Purson, Elephant Tree, Doctor Cyclops, Acid Reign, Hawklords, Wight and Skraekoedlan. Their adventures into alternate realities continue.
CWC are a trio, consisting of: Alex Wyld (vocals/guitar), Doug MacKinnon (bass), Lewis May (drums/percussion).
The Myth Of Sisyphus – Introing with a classic doom sound and some fun moves, set in a forest, the heavy riffs are very much the central basis of this. As we see the home-made boulder being rolled around and the bands fists held aloft, it tells a story, alternating with floaty, dreamy scenes of a quite Terrorvision-esque style. The drums are always strong, building a wall around the melody. Definitely more instrumentally based, than vocal, it leaves plenty of space around it and much to the imagination. It does hold a mysterious appeal and everything’s in sync, but it’d be good to hear and see a bit more, in terms of a narrative and a little bit more colour and movement, musically. Just slightly insufficient, in that sense, however, its tones are soothing and there’s a calming essence to its overall atmosphere. Ultimately, I would listen again, for its intrigue value alone.
7/10 *******
For fans of Terrorvision, Dizastra, Old Man Wizard, Tommy Stewart’s Dyerwulf, Fungus From Yuguth, Doombanomicon, Electric Wizard.
A 6 piece alt nu metal band from Odense, Denmark, Walking Rumor have been around since 2015 and have several releases under their belts, including the 2016 single, ‘Proud Of Me’ and EP, ‘The War Within’. They’ve also performed on behalf of Denmark, at Global Battle Of The Bands, Berlin, winning 3rd prize, in the ‘People’s Choice’ Category.
Launching 2 singles, via Mighty Music, in 2017, they then played alongside Il Nino, on a tour of Europe, before going DIY, prior to their debut album release, ‘Symbiosis’, during 2019.
Taken from the ‘Symbiosis’ album, WR’s new single, ‘Leave Nothing Behind’ was recorded at LAK Studios, produced by Claudio Andersen and mixed and mastered by Chris Kreutzfelt (Cabal). The title is an expression of the band’s own lived experience of and empathy with mental health distress.
As one of the monthly tracks WR are launching from ‘Symbiosis’, ‘LNB’ is possibly the most candid track so far. A recent video is available, by Kenio (one of WR’s vocalists), to The Maloik, regarding his personal experience of mental health issues, in which, he offers support to others living through the same.
Delivering a clear angle on possible mental health issues which may afflict someone, ‘LNB’ is a strong hit contender, containing both darkness and light, through shared experience and hope. It’s an open book, both profound and enlightening.
Kenio’s attempt to make the track coherent has resulted in a slimmer aspect of his reality, so as to avoid overwhelming the listener and ensure they grasp its main message.
Leave Nothing Behind – Opening with a strong driving beat, with a slight echo of Linkin Park, with softer edges. Very lyrically real, intimate and brave. Moving in and out of heavier and lighter segments, like an active tidal wave, as it rolls and recedes. A firm foundation of drums and a truthful message of the reality of others perceptions of invisible illness and the exhausting impact of that. Still, it’s vocalised in a hopeful way, illuminating the determination to continue fighting both the illness and the attitudes. Always powerfully melodic and catchily rhythmic. Gently delivered, with heavier peaks.
Originating from northern New Jersey, Stricken are a metal quartet, playing a combination of classic metal, emo, nu-metal and prog. They describe their music as ‘both familiar and challenging’. Their debut 4 track EP, ‘Black Sunrise’ hit number 1 on Amazon music’s Unlimited for new Hard Rock and Metal albums.
Black Sunrise – Gradual fade-in, with a strong bass presence and powerful vocals, gritty and heavy, employing plenty of melody. Some softer vocals interact with the heavier voice. Visually atmospheric, painting the picture of the title well. A decent combo of alternative, indie and metallic styles, though it has to be said, the heavier, grittier vocals definitely work better. In fact, the lighter sounds seem a bit misplaced, when compared with the harder slant. Good drum outro.
As The Hours Tick – Good intro. Clear, confident and flowing well. This is instantly catchy and upbeat. Utilising melody carefully, it’s got a looser feel and a more laid-back vibe. Here, the riffs stand out, rising in tone and adding real power to the track. Great fast pace and more of a consistent style. Drums still as strong and making themselves known, at the end. This is definitely the more memorable track and an easier listen.
No Act Of Martyrdom – Good loud intro, well produced, with a neat sound. The rhythm comes into focus, showing what they’re capable of. Just a very light-hearted, melodic number, with lots of seamless flow. Classic influences are audible here. There’s a notable quality about the production. It’s quite riff centered, with a well constructed building outro. Vitality is the key word, which stands out here. Delivered like a much lighter ‘She Wolf’.
Void – Opening with a vocal harmony, seeming slightly at odds with the rockier accompaniments. Still, it’s pitch perfect and totally cohesive. A vibrant bit of melodic riffage in the middle just centres the whole track. Very competent drumming, keeping time, consistently. A little bit of stop start phenomenon, just before the end and then it closes, with a neatly executed finale.
Overall – ‘Black Sunrise’ immediately strikes you as a good production and though some of its lighter sections may seem out of place, the stronger ones compensate well. Its main draws are its melody, specifically, within the riffage, pitch perfect vocals and the relaxed delivery and feel. The audio values are spot on and ultimately, ‘BS’ is a light, easy listen, which’ll be best served by retaining a focus on the more metallic side of things and emphasising the heavier, grittier vocals.
8/10 ********
For fans of alternative and indie rock, riff-based speed metal, e.g. Megadeth and genre straddling bands.
Combining the drive and passion of thrash and extreme metal, with the pace of power, the rage of death and the rawness of black metal, Axxios emerged from the fallout of other projects. Having been through the usual line-up changes, they’re now a 5 piece band, aiming for a signature, multi-layered sound.
Conquests Of The Insatiable – Heavily powerful intro. Drums solidifying the intent and driving the message home, before the Halford-esque screams take over. Okay, so they’re a little hoarse, but the higher pitches work well with that voice. It’s certainly recognisably Priest-esque, which is always to be admired. Very melodic riffage, bringing more depth and quality to it and some very tasteful speed riffs. You can’t deny it. You have to join in with that catchy refrain, towards the end and the cymbals finish it off.
The Curse Of Anathemia – Full on death style rattling barrage of drums opens. So this moves in a blacker direction. It’s very growly and still fairly fast-paced. A bit resonant of ghost trains and scary clowns. Some great speed riffage again. Ending on an impressively sustained feedback riff.
Consuming Chaos – An instant in your face rattling pace, with some quite awesome power screams. It’s well levelled out between the rawer stuff and the more melodic side of things. A good balance. Moving slightly more towards the death camp, in part, but never neglecting the melody. Liking the movement of those riff scales. Closing on a forceful and joyous power scream).
The Lost Legions – A quick drum hit intro’s. Straight into a narrative theme, with obvious strength behind it. A slight Viking element drives this. Utilising a well-placed commonly found classic sounding riff, with a touch on the cymbals and a clear determination. Just a very driven track, with a building heaviness, on which, it ends.
The Trojan Heart – Banging intro, which definitely means business. Right into a wall of riffage. Catchy, with a steamy Viking-esque aspect. Here, the vocals gain in strength, coming into their own, in a Blaze Bayley-esque sense. Breaking down into a softer, but certainly no less heartfelt line. Echoing Blaze Bayley’s ‘When You Were Gone’, in the riffs and pulling that sound off beautifully. Ascending high into the closing mighty power scream.
Beneath The Blood Red Sky – Fast-paced, immediate speed number, with a colourful, dizzying melody. Again, those expressive power screams add a touch of magic. Descending riff scales do the same, as the drums hold the fire. Bringing it down, into a medieval, Baroque style section, with just as much melody, the bass comes in and creeps forward, making way for the sudden increase in volume and heaviness. A tantalising riff section makes your tastebuds explode. The drums build a wall, for the closing riffs to slide, sexily off).
Intro – (Bonus Track – Live) – Drums intro, (though don’t ask me why track 7 is the intro). Over before it starts, but still leaving some fire in its wake.
Consuming Chaos – (Bonus Track – Live) – Getting straight into a typically anthemic metallic intro. The power screams come straight in, with the catchy paced melody. Strong drum sections, beating out a rhythm, as the sound darkens, evolving into another blackened section, temporarily. Moving it up again, with the faster pace. Powerful, in its way and ending on a well synchronised accompaniment. Introing the next track.
The Trojan Heart – (Bonus Track – Live) – Cymbal intro, together with an immediate fast-paced accompaniment and driven vocals. Notably catchy and once more, there’s that easily detectable Bayley influence, intentional or not. The screams really push themselves to the limit here and it hits home. One thing really stands out and that’s the chemistry and synchronicity of this band. Always a great thing to hear. The closing Halford-esque power screams just make it and again, you have to join in).
Drum Solo – (Bonus Track – Live) – Kicking it off at a fair pace, this is something rarely found on an album now and always worth listening out for. It’s a brief, but steady descent.
The Lost Legions – (Bonus Track – Live) – Right into the rhythm, it’s another joyful melody. The strength within this is clear. Very much drum driven. A good strong backbone to it and just generally, catchy and highly melodic. Really fun, accessible, well flowing ending).
Trust In Hatred – (Bonus Track – Live) – Great intricate fretwork opening. Building it up into a proper fest of metal freedom. Those driven power screams give it their all, one final time, mixing it up with the lower vocals. That kind of throat shredding has to be worthy of notice. So catchy and expressive and now, the bass comes into play again, leading into a fuller, louder, melodic mosh fest. Always barrelling along, at an impressive pace, right till the end, culminating in a crescendo of drums).
Overall – Well this is one fun and enjoyably involving album! ‘BTBRS’ is joyously Priest-esque, with hints of various other genres and always infectious. The biggest USP has to be the Halford-esque power screams, energisingly scattered throughout, but every section of the band has its day in here and it all gels together, beautifully. Just a mosh fest of melodic party metal, from start to end.
Piranha formed in 2013, through common interests in thrash metal and NWOBHM. They began writing songs and played their first live show the same year. In 2015, their debut 4 track EP was recorded and more gigs followed. Some of these included appearances with Ectomorf, Shredhead, Hot Beaver, Hellvetica and Odd Crew.
2016 saw them perform a sold-out gig, supporting The Iron Maidens USA) and others with Cancer (UK), plus numerous shows in Switzerland. They made their first festival appearance in Germany, at the Full Metal Osthessen Fest, in 2019.
The line-up was completed in June 2019 and their debut 10 track album, ‘First Kill’, was launched on 6th September 2019, via Non Stop Music Switzerland. It’s accessible globally, on all digital platforms. New gigs are planned for the remainder of the year.
Chain Reaction – Explosive intro, very busy, with descending riff scales and edgy, sharpened, death style vocals. Confident, full frontal thrash. Guitar break in there and a real relentless pace to those vocals. Ending on a final few drum hits. Slight echoes of Anthrax’s ‘Madhouse’.
Turning Point – Another instant hit of searing metal. Throat shredding vocals and a vague hint of Pantera’s ‘Hostile’ and ‘Kill ‘Em All’ era Metallica. Strong drum hits, good fast pace and a well-placed bit of melody. Battling on, with a sound incorporating classic influences, while throwing a modern, edgier spin on it. Closing on a mysterious instrumental.
For Your Own Security – Immediate shredding hit, with rapid fire drumbeats following, closely. More of those razor sharp vocals and a fun rhythm joining them. Good placing of the anthemic backing vocals. Just lots of riffage and a cacophony of surrounding noise. Great efforts from all, throughout and a consistently catchy rhythm. Just a very slight tinniness to the production.
Flight Or Fight – Banging intro, drumming heavy and again, an echo of classic sounds. More melodic emphasis here. A tribal feel to the drumming, around the second bar. Blackened vocals scream their message, accompanied by burning, Pantheon-esque riffs. The riff melody increases around the mid-section, but that black vocal style persists. Instrumentally, it’s definitely more thrashy, but vocally, it sits firmly in the death/black metal camp. It’s a good cohesive riff section, just before the end, signified by a drum and cymbal finale.
Rage Of Fire – Riff intro, bringing a catchy melody in, with a powerful drum section. Once more, those death vocals return, giving it all they’ve got. Slightly catchier, rhythmically, with plenty of aggression, but just missing the spark. Slight echoes here and there of Maiden’s ‘Moonchild’.
Resistance To Change – Drumming barrage opens, with just as much vocal rage as before and a faster, catchy pace. This track’s a warning, in vocal terms and conveys that well. Very much all-out thrash, on an instrumental level, but it’s just sounding a tad derivative. Good bit of steamy cohesive vibrato. A driving relentless pace and full on aggression, from start to end.
Target Failed – Another drumming intro, rapidly followed by chasing paced riffs. Siren sounds suit the atmosphere well and more of a group vocal effort, with a slight anthemic feel. The bonus is the vocals here are much clearer and move further into thrash territory. A bit repetitive, though. No quarrel with the enthusiasm, or the energy.
No More Voices – Edgy, heavy riff opening, with a stronger steel surround. Getting immediately into another driven chasing pace. Notably greater catch to this chorus, though it suddenly dips down into a less catchy section, at one point, before revving it back up again. A little more variety would serve this song well.
Slaves Of The New Age – Searing edged riff intro, joined by heavy drum hits. Once again, it’s sounding a bit monotonous and not quite hitting the spot, in places, but then it picks it up again and the energy increases, here and there. Drumming wise, it’s solid, but just needs to inject a little more verve and diversity into the rest. Like the closing feedback riff, though.
My Revenge – Better! More cutting riff intro! The drums add the edge, once more. Perhaps more vocal melody might just add something. The riffage does a good job and this track becomes slightly Exodus-esque, reflecting ‘War Is My Shepherd’, in quite a workable way. Raging on, to the end, closing with a touch more feedback riffage, this is possibly the standout track.
Overall – ‘First Kill’ has no problem with drive or enthusiasm. It’s certainly stacked with those. However, it’s just a tad scattered with derivative sections and not much variety, melodically. The vocals are over-reliant on screamo style and its repetitiveness detracts from its catchier potential. A bit more diversification with a closer emphasis on thrash vocals might just add the extra spark it needs. Its production’s slightly tinny, here and there, but otherwise, it’s a well crafted album.
8/10 ********
For fans of Pantera, Metallica, Iron Maiden, Anthrax, Exodus, Pantheon.
Originating from Nashville, E.G. Vines launched his debut EP in 2018. The follow-up album, ‘Family Business’, is released today. A solo project, combining generic roots rock with relatable lyrics, it’s main emphasis is how a community becomes and constitutes family. The lead single, ‘Salesman’, is currently receiving regular airplay at ‘Lightning 100’. Intro track, ‘The Victim’, comes from E.G.’s own life experiences and thoughts surrounding them. It also hints at our current society and how it presents.
‘The Hate Remains’ plumbs the depths of past social conflicts, inequalities and segregation and how they relate to EG’s time studying at Alabama University.
Leading onto more thoughts regarding his response to America’s shooting epidemic, this is covered within ‘Feel Again’, in which, the emotional tone speaks for itself. ‘Blood In The Streets’, a bluesier number, is a looser, rockier track, with a life of its own. Within the closer, ‘Poor Man, Rich Man’, a vastly more soul and gospel orientated song, comparisons are drawn between different backgrounds and it’s ultimately about love and how it heals.
As a youngster in Jonesboro, Arkansas, EG’s music career began as front man in an alternative rock band, at high school. Having now built a positive reputation, within Nashville’s roots rock scene, he moved on from there, to Music City, back in 2009, where he formed The Bandoliers, a well esteemed blues and southern rock outfit, during 2010. 2015 saw their last album release, following which, E.G. became a solo artist.
His debut EP, ‘Conversation’, arrived in 2018 and presented a much greater contemplative thread to his music. Produced by Eddie Spear (Brandi Carlile, The Delta Saints), Eddie’s input was far more of a mentoring role, in terms of songwriting, than the standard production contribution. This resulted in the diverse Americana sound for which EG is now known.
Generally, ‘Family Business’ covers the discursive hot potatoes of the day, combining them with the stories arising from life experience and centres around the pivotal themes of love, loss and life and again, what makes a family. In so doing, he makes it accessible to all and unites listeners, through a shared musical bond, thereby, creating a wider sense of family.
The Victim – Plucky upbeat chords intro, with a light-hearted atmosphere. A notably emotional strand to the vocals. Performed in a loose riff style. Quite melancholic, yet uplifting, in places. The point’s clear. Good delivery. Well produced. Definitely much more poppy than rocky. Decent vocals, sung with a lot of feeling. Easy rhythm and something of a country strand to it. Slightly Eagles-esque.
Love Is A Gift – Slightly heavier and markedly bluesier riff opening. A clear swing to the sound. Again, it’s emotionally delivered and the twang’s always present in the guitar. This is rockier, though still very much soft rock. There’s an undeniable catch to it and definitely a touching innocence to the sound.
The Salesman – Opening with a darker tone, filled with intrigue. It’s another melancholy one, but this time, moving into more contemplative territory. Breaking into a mysterious rhythm, with a gentle percussion emphasis, before then blowing up, into a loud, passionate drum roll and vocal, surprising, in its effect. This has got to be the standout track and it’s memorable and sincere.
Drunkard’s Dream – Drums intro, with a steady beat and vocal style echoing James Blunt, in his most emotive moments. Keeping it steady, another country tone creeps in. Flawless, clean vocals bring the lyrics to the fore. Building it up, into a bigger volume, it’s just a really plausible sentiment. Quite beautiful.
Blood In The Streets – Harder drum and riff intro. Leading into equally heavy vocals and that by now, familiar bluesy twang. Those vocals are just velveteen. Slight echoes of Living Colour. Definitely a funky thread to it. Combining well with the blues rock emphasis. Ending on a sexy fade-out. Sublime.
Family Tree – Banging drum intro there, perfectly timed. More of a narrative thread in here. Keeping you in suspense, with that thoughtful rhythm. Now, the gospel soul choir joins in, adding a new angle. Ticking rhythm keeps it going, throughout. Faultless.
Feel Again – Just hinting at the mood, within a gentle intro. Melodic acoustic section and beautifully sensitive vocals, pouring empathy. This one just swallows you whole. Frankly, you can’t fail to feel it. It’s all heart and soul and you can almost sense a palpable heartbeat throughout it.
The Hate Remains – Soft guitar intro. Equally soft vocals join in. Very poignant and well expressed. A meaningful whistle adds another thread of magic. Solo vocals seem to ring out a clear message, accompanied only by acoustic riffs and then finally, a heavily emphasised, down tuned, brief piano finale.
Poor Man, Rich Man – Lifting the mood again, even through still serious lyrics. Drums adding a stronger backbeat now and the twang returns. Such profound lyrical themes, delivered in a far more cheerful melody. Short, but very, very sweet.
Overall – ‘Family Business’ has shocked me, in a very pleasant way. Profound and beautifully expressed lyrics, through which, such poignant messages are physically palpable. Also, with its absolutely flawless, polished production and its ability to cover such an eclectic blend of genres and make it work. Above all, there’s a memorably sincere and haunting sense to those vocals, sealing the empathic overtones, succinctly. Pointedly and honestly delivered, with genuine humanity and true soul.
10/10 **********
For fans of The Eagles, Living Colour, James Blunt, Eagle Eye Cherry.
Formed in 2011, by duo Brian Townsand (drums) and Matt McClellan (guitars/vocals), Body Stacker are a thrash metal band, fitting into most sub genres within the scene. Performing explosive gigs, they incorporate speed, brutality and various heavy influences into their music. For instance, Gwar, Morbid Angel, Mastodon and Exodus. Having already played numerous American tours, BS have also played alongside Goatwhore, Exmortus, Mobile Deathcamp, Arise In Chaos, Hemlock, Black Crown Initiate, Cephalic Carnage, Abysmal Dawn, etc.
Having A Ball – Brutal, vicious extreme thrash hits you in the face, immediately. Unforgiving, unrelenting, unrepentant, gloriously cutting metal. You can be left in no doubt as to just how heavy BS are and it’s a short, but blatantly clear show of sheer metallic balls.
Boot Bruise – Cymbals intro, before the riffs electrify and cut you to ribbons. Echoing Slayer’s ‘War Ensemble’. Instantly catchy, employing melody well, going insane with raw thrash aggression and extremity, turned up to the top. Getting faster and faster, till you’re dizzy, this is some heavy shit.
Pathogen – Coming in on a battering ram of riff and drum power, introing a touch more melody and melding it well with the anger of the extreme thrash. Lots of rhythm, just gathering strength and volume. That thrumming bass is palpable and the pace changes, approximately 3/4 in, moving down a gear, making way for a bit more vocal input, before gradually gathering more momentum again. More dizzying heights of riffage. All-out murderous metal mayhem. Liking those shriller riff tones and the speeding rhythm, which fits them like a glove. Drums giving it some acrobatics here and the key drops down again, to a doom-esque level. Bringing it all together, for a tight, cohesive finale.
The Arena – Banging, insistent drum intro. Straight out, no holds barred thrash till death. A united front is very much the name of the game here, with everyone contributing vocally and never surrendering that lightning fast pace. On it goes, in that same vein, till the end. Unmistakable thrash intent.
The Time Honoured Tradition Of Human Sacrifice – Beautifully melodic Celtic edged speed riff intro. Right into the feel of the groove. Very much a riff-based track, with the melody taking centre stage. Still as harsh on the vocal front, though. An undeniable groove works its way through here. Catchy pace, definitely a moshing track. Those riffs are divine and star quality screams through them. Barrelling on till the end, it’s just pure relentless thrash.
Curse Of The Skeletal Mage – Another banging heavy drum intro, of the sort for which you’d be willing to suffer a migraine. Pure bliss in those riffs and it definitely takes you there. Heavily technical riffage is what this is about and it’s addictive, from start to end.
Into The Storm – Hitting you hard, with hard lined, edgy metallic violence. Every bit as good as Slayer. Speeding bullets of light intensity shine their laser beams full force, into your face, penetrating your brain. Once more, it’s a dazzling array of riff blizzards, hard as hell drumming and insistent vocals. This fits its title well.
Necropolis – Opening on just a touch of feedback, before getting right into another frenetically charged riff blitz. A fun, anthemic section hits and it’s a battlefield of high octane thrash extremity. The driving force behind this is not letting up and it just takes you with it.
Stack ‘Em High – Another hint of feedback, opening the ground for more high-level riffage and Slayer-esque mood. Damned impressive and stacked with catchy hooks. An awesome bit of low down bass in there bridges those sections and the vocal pace is astounding. Slowing down and introing a thunderous drum section, gravitating towards a shockingly fast rhythm. Riff heaven comes into play and the speed increases. More energised thrash metal passion screams through the vocals. What a stunning finale!
Overall – The passion and drive in ‘DSFTEOTW’ is just beyond impressive and its raw energy, staggering. This will leave you speechless. Not only cos it’s amongst the most perfect performances you’ll hear this year. It’s sheer electrifying delivery is the closest thing to Slayer I’ve ever heard and that says it all. If you’re after a full on, escapist mosh fest of epic proportions, on a Slayer-esque scale, with all the rabid extremity to go with it, then this is the one for you. Seriously breathtaking stuff.
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