Archive for July 2020

South Of Salem – ‘Cold Day In Hell’   Leave a comment

After 10 years dedicated to projects, playing support for Iced Earth, The Damned, Wednesday 13 and The Birthday Massacre, hard rockers South Of Salem now present their new music video, ‘Cold Day In Hell’.

The themes of ‘CDIH’ revolve around the cold realities of the coercive control and manipulation inherent in emotional and psychological abuse, inflicted by the closest people to us and the damage it does to the victim.

‘CDIH’ symbolises and summarises the issues highlighted within the upcoming album, ‘The Sinner Takes It All’.

Both the track and the album have been in preparation for release since the beginning of the year, with a sold-out Bournemouth show, but as they were scuppered by Covid Lockdown, they’ve pushed on with the material’s launch, at the first opportunity.

Cold Day In Hell – Right in there, with a gorgeous, rocky riff intro! Total vocal conviction, from the start. Great aural portrait of the emotional incongruence of the abuse the track deals with. Keeping a powerful melodic front, the whole time, so plainly performed. Always, gritty and catchy, a guaranteed hit. Everything matches up here, in complete flow and natural synchronicity, from the tuneful hooks, to the dark, shadowy visual representations, hiding in broad daylight. Perfectly produced. Loving the twiddly paradiddles, 3/4 in. A great reveal of real, plausibly delivered issues, in a hardened, rocky shell. Fabulous definitive ending.

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

Pre-order ‘TSTIA’ here:

Posted July 31, 2020 by jennytate in Uncategorized

Austin Gold – ‘Here To Stay’   Leave a comment

Hard rock quartet Austin Gold present their newly released single and video, ‘Here To Stay’. A track from their self-titled, also recently released mini album, it’s out on Jig-Saw Music.

The video features their performance on Ramblin’ Man Fair’s main stage, in 2019. Shot by Paul England. Edited by TMR.

Proceeding 2 successful studio productions and tours, with GUN and King King, AG are fast accruing a solid live reputation, with a powerful vat of inspirations, resulting in an exceptional sound. Combining heaviness with genteel reflections, impacting evocations and catchy sounds, AG are proving an increasingly, intoxicatingly popular band, with sold-out, international venues to their name.

Production of their 3rd album is already underway.

Here To Stay – Gritty vocals open, closely followed by powerful riffs. That classic bent’s definitely there, from the start. Great melodies. Well-placed footage of live metal solidarity and a fabulous, rocky drum roll, yielding to more hooky riffs. Ending a little abruptly. The intro’s a little rough, in terms of production, but that’s well and truly compensated for, in the rest. Even if the vocals do sometimes appear to be overdubbed. Undeniably catchy and bound to prove a continuing hit.

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

For fans of Devilfire, Daniel Trigger, Matt Mitchell And The Coldhearts, Bon Jovi, Live, Nickelback, Stiltskin.

Official Video:


Posted July 30, 2020 by jennytate in Uncategorized

Electric Vengeance – ‘Angel Of Dirt’   1 comment

The Texan trio return, with their new debut video, ‘Angel Of Dirt’, featured on their ‘Stories Of Greed, Sex & Murder’ EP, to continue their screaming thrash attack, aided and abetted by new bassist Gunther. Spurred on, by their ever expanding army of fans, aka the Street Metal Attack.
Founded back in 2007, they bring an evil, coruscating blend of heavy metal, punk and thrash, with all the swagger, to go with it. Enter the world of Electric Vengeance.

Angel Of Dirt – Opening with a classic mosh riff and aptly aggressive vocals, keeping that raw edge, always present in EV’s tracks. Great deep, thrumming bass. Scenes of live, outdoor mosh pits, actively defying the ‘no moshing’ signs, in truly metal nonconformist style and general metallic chaos. Very Slayer-esque chorus, quite notably echoic of ‘Seasons In The Abyss’. Well structured, with well-controlled rhythms and pacing. Pauses always as dramatic as a song of this nature warrants. Getting more melodic, as it continues. Solid drum hits ending. Characteristically classy, high-quality and drenched in EV’s trademark atmosphere.

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

For fans of Slayer, Testament, Exodus, Anthrax.

Posted July 29, 2020 by jennytate in Uncategorized

Fore – ‘Fore – Punk’s Not Dead’   Leave a comment

Out now, via Smoke & Mirrors Productions, punk band Fore (ex-Kreator and Venom Inc, Massacre, The Absence, Old James, Skull Fist members) have released 2 new tracks, on Bandcamp, entitled ‘Song For A Friend’ and ‘Pet’.

These 2 new tracks follow ‘What’s Right For You’ and ‘Today We Rise (No Tomorrow)’.

Their debut self titled album is already in production, as an independent creation.

Pet – Introing with a couple of rapid drumstick clicks and straight into a classic speed metal, punk flavoured refrain. Very Offspring-esque. Just a barrel of riff-centric fun. Brief, but lively, ending on an invigorating power scream).

Song For A Friend – Intriguing deep male voice opens, with the word ‘diablo’. Then right into another fun-filled, melodically driven track. Again, it’s very Offspring-esque and just spells fun, loud and clear. An even shorter, but certainly no less exhilarating track.

Overall – Both equally alive and upbeat, these are 2 tracks of guaranteed high-spirited fun.

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

For fans of The Offspring, Green Day, Powervice, White Wizzard.

Posted July 28, 2020 by jennytate in Uncategorized

Chasing Ghosts – ‘Bring Me Suffering’   Leave a comment

Now available, darker than ever, ‘Bring Me Suffering’ is the new release from UK dark melodic metal band Chasing Ghosts. Both the EP and the title track, ‘BMS’ combines and comprises more of the most otherworldly, solemn sounds, recognisable from their 2018 debut album.

An associated single and video already launched, packed with gloomy depths, piteous tones and an aural grief cycle, looking ahead, to more hopeful futures. The visual portrait is shown within the video. Created and crafted to incite the deepest, most visceral feelings, ‘BMS’ is a profound and complex listen. The essence, palpable, in the sound.

Formed in 2015, their debut EP, in 2016, featured ‘Fallen From Grace’, a track recorded by Tim Morris (Enter Shikari), shown in their debut video, which featured Pixie Le Knot (contortionist/actress, ‘Game Of Thrones’). ‘The Devil Inside’ also featured. It was premiered on Amp’d TV, hosted by Kerrang’s Johnny Doom.

2018’s ‘These Hollow Gods’ album was highly esteemed, throughout the metal media, including Kerrang, Metal Hammer, Total Rock, Classic Rock, Fireworks, Powerplay, Rock Hard, Rock Tribune, Sweden Rock etc. It launched via Denmark’s premier rock and metal label, Mighty Music.

CG have played festivals, including Copenhagen’s Nocturne Fest, where they played alongside ex-Catatonia bands Abyssic and October Tide and headlined, globally, with plans to resume live shows, ASAP.

‘BMS’ was mixed and mastered by Jaime Gomez Arellano (Myrkur, Paradise Lost, Ghost). Accessible via download and stream, through all main platforms.

A Darker Place – Very operatic intro, poignant violins, soon joined by haunting riffs and gothic vocals. A striking duet of male and female voices, folding into the riffs, leaving shadows of tragedy and deep emotions. Very naturally performed. Delivered as waves of emotion, as the vocals fade in and out of the melodies. Ending on a solemn sound, enshrined in the voices.

Bring Me Suffering – Coming in carefully, on an orchestral sound, combined with riffs, growing heavier and gloomier. Dark vocals, resonant of Nick Cave, at his darkest, interspersed with similarly tragic feminine vocals. An easily catchy melody, carrying strands of misery within it. Growing larger and then melting away, yielding to deeply sad instrumentals, those vocals form a vehicle for palpable depths of emotion, as they wane and rise, like the ebb and flow of tides. Quite powerful accompaniments form the backdrop and the ending.

Until The End – Pointed sadness opens, with melting riffs and even darker, deeper, Cave-esque vocals and bass. Well held notes. A very fluid track, similar to the last, with a clearer physical edge. Strategically placed piano sections give way to powerful, booming drums, but still remain, in the background. Light feminine backing vocals, only just audible, join, for parts of the track, till the manly tones take over again. Instrumentally, very poignant, once more, building, to a strong, orchestral ending.

Overall – ‘BMS’ really strikingly epitomises its title. 3 tracks of openly painful, melancholic emotions, laid bare. Achieving its aim, in taking you there and opening up the reality for you, it’s certainly a very visceral EP. Flawless production and sound values, high-calibre performance, ‘BMS’ may not be uplifting or upbeat, but it does transport you right into its world, without doubt.

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

For fans of Evanescence, Lacuna Coil, Nightwish, Within Temptation, Epica, Nick Cave And The Bad Seeds, Wintereve, Mostly Autumn.

Official ‘BMS’ Video:

Posted July 27, 2020 by jennytate in Uncategorized

Thirteen Stars – ‘Keep Calm And Carry On’   Leave a comment

Released on 26th June 2020, on RPM Records, ‘Keep Calm And Carry On’ is the next instalment from Thirteen Stars; a new fan featured video, for the single. It follows their highly esteemed album, ‘Finest Ramshackle Jam’.

The purpose of the track is to provide a hopeful means of motivation and inspiration, in these uniquely worrying times. Designed for listeners to interpret in their own ways and attach their own meanings to it, ‘KCACO’ is hoped to provide a branch of empathic humanity and gentle acceptance of current realities.

The track made number 1 of Classic Rock Magazine’s ‘Tracks Of The Week’, Great Music Stories’ Album and Band Of The Month, was featured by Planet Rock Magazine and Radio and was also highly rated in Fireworks and Powerplay Magazines etc. The band appeared at Wintersend Festival too.

Keep Calm And Carry On – Classic rock intro, ballad-like style, shot through with Thirteen Stars’ trademark warmth and charm. Instant catchy hopefulness and revealing honesty in those lyrics. Well constructed track, accessibly paced, with steady rhythms and consistent sound quality. Brief, but memorable and still flaunting those Quireboys/Bon Jovi-esque vocals). Laid-back melody, with an inviting self assuredness. Clear personal ‘singing just for you’ visuals. Well-placed stripped back imagery, emphasising audio focus. Ultimately, the cosiness inherent in the band’s signature sound is still very much present.

8/10 ********

For fans of The Quireboys, Bon Jovi, The Black Crowes, Black Stone Cherry, Uriah Heap, Black Country Communion, Boston, Free, Bad Company.

‘KCACO’ can be purchased at:

Official Video:

Posted July 25, 2020 by jennytate in Uncategorized

King Corpse – ‘Sacred Crimson’   Leave a comment

Self released, in April 2020, ‘Sacred Crimson’ is the latest EP from King Corpse. Offering 8 tracks, 5 new and 3 remastered, this new production is the sound of KC expanding, into other metal genres, outside of their previous stoner/doom focus.

Founded in 2015, in the Black Country, the trio began as a very Sabbath-esque band, playing dark, doom-soaked metal, in ‘The Kcrypt’, as their practice space is known.

After a change of drummer, local gigs began in Birmingham and the Black Country. These focused on emulating the sounds of the likes of Sabbath, Witchfinder General, Crowbar and Down. Their last self-titled EP was well received, followed by support gigs for Conan and Monolord and more.

Returning to the studio, in 2019, production of ‘SC’ commenced. Recorded by bassist Jack Cradock and produced by Chris Wilson, at Stourbridge Studios.

Still very Sab-esque, with entrancing profundity and mystique, combined with corrosive rhythms, this 8 track wonder reveals great metallic escapism.

Exhumation – Gradual, deep, doom riff intro. Quite plucky fretwork, with atmospheric surroundings. Slightly tinny sound, but notably resonant of Electric Wizard. Gritty vocals, passionate, if a little off key. Well constructed rhythms. Very roary. A bit flat, but certainly has the doom sound down well.

Drowning – Slightly ominous, tight riffs open. Typically doomy beats and slow pace. Again, it’s a tad vocally flat, but with more melody and a lot of passion. Almost leaning towards extreme vocals. Drumming well timed, but still a little tinny. Lifting the tone, marginally, but the doom pace persists. Slowing down, to a crawl, it’s palpably running out of steam. Losing melody, as it fades out, on a sustained grungy tone.

Climb My Bones – Pleasant, ambient guitar riffs intro, gently. Breaking down, into a fairly A.I.C.-esque sound. The mood’s accessibly conveyed. Lifting things, slightly, but not for long. A mournful, depressive melody enters, with pained screams in the background. The ensuing riffs do compensate, though, bringing the mood up, a bit. Extreme roars follow. A slight vocal harmony adds to the A.I.C. effect, even if it’s flatter than expected. A noticeably Sab-esque, ‘Symptom Of The Universe’ riff comes next. Introing a mysterious element now, the sound becomes fluid, melting into itself. Stepping up the melody, injecting more omen, climbing up and down the scales. Fading into the distance.

S4–Lazar – A very distorted, robotic intro, with strong sci-fi aspects. Cacophonous sound effects litter the track. A blur of sound eventually yields to a gradually emerging A.I.C.-esque melody. Gathering pace, releasing an agonised, Cobain-esque scream. Echoing a combo of ‘Territorial Pissings’ and ‘Something In The Way’. Just an incensed, insane rage, surrounded by consistent doom accompaniments. Some light protrudes, through the gentle cymbal hits and lighter riffs. Ending on a slow set of riffs.

Sons Of Mourning – Bleeding through the previous track, once more, echoing a potent combo of Sab and A.I.C. A very strong stoner essence. Aptly mournful group vocals. Something slightly more modern about aspects of this track, in places. The bestial roars and screams bring it to an end.

The Count – Faster paced number, a bit more breathy. Echoes of Down and Kyuss infiltrate this, but still without losing that essential classic Sab essence. Lots more cymbal involvement. Channelling early Ozzy in there. Just a typical doom rhythm, with more riff melody creeping in, here and there. Staying slow and steady, for a while, before erupting into a clear ‘Hand Of Doom’-esque refrain. Whilst it’s an admirable tribute, a lot more originality’s called for here.

Sleepless – Very much a bass led intro, quickly followed by heavy cymbal action. Dread, nightmarish lyrics, raging through the track. A strong sense of omen invades this, growing more mysterious, throughout. Quite a samey track. Fading out, casually.

Swamp Thing – Deep, slow, down tuned melodies intro. The rhythm’s well controlled. Fairly catchy pace. Now, incorporating some more interesting riffage. Slowing down, further, into a very Iron Monkey-esque sound. Finally, lifting up the melody, with a very slight country blues twang. Ending on a gently played acoustic chord.

Overall – The main advantage ‘SC’ has going for it is it’s consistent, unmistakable doom sound. However, in terms of quality and originality, it’s distinctly below average. Whilst it’s homage to Sab et al is admirable, it goes too far in replicating classics and generally, fails, on an inventive level. Too samey and drudgery sounding, but the drive and motivation behind it will get it far.

4/10 ****

For fans of Black Sabbath, A.I.C., Down, Kyuss, Electric Wizard, Witchcraft, Iron Monkey, Orange Goblin, Taint.

Posted July 24, 2020 by jennytate in Uncategorized

Elimination – ‘Of Gods And Beasts’   Leave a comment

Metal trio Elimination was founded in Suffolk, in 2007. Inspired by Kreator, Death, Slayer, etc, their live gigs have been decimating crowds, with their hard-hitting combo of thrash and hard-core.

Having played support for several high profile bands, including: Accept, Evile, Gamma Bomb, Forbidden, Criminal, WOLF and more, their debut EP, ‘Destroyed By Creation’, launched in 2009, to rave reviews. Closely followed by 2nd album, ‘Blood Of Titans’, on Transcend Records. A UK support tour, with Evile, on their ‘Infected Nations’ tour came next, along with Hammerfest performances, plus numerous other renowned events.

After a break, in 2012, Elimination returned to the scene in 2018, with a new line-up. This current 3 track EP, ‘Of Gods And Beasts’ was produced by Danny B (Criminal) and recorded at HVR Studio.

In The Name Of Violence – Instant power hit. Speed freak riffs and a vicious, battering ram vocal. Imagine a deathier Judas Priest. You’re there. Good rhythms, confident, full-blooded performance, if a bit low on the audio values. Certainly a great, accessible, melodic thrash pace. Just needs to turn up the volume.

The Return – Slick drum rolls intro. Hitting its stride immediately, the vocal passion’s there and it’s definitely very thrashy. It all fits together well. Good riff solo, in the middle and the whole track’s well structured and arranged. Upbeat, without losing the aggression. Easily evocative lyrics. The melody’s always there and it just rocks along nicely. Well-placed drum roll ending.

What Have I Done – A perfect follow-up, continuing straight on, with the same flow. Slightly more blackened. Good tumbling form. A little more vocally harmonic, in places. Very imagery provoking, again. The speed riff factor’s well sustained. Well-placed bit of whammy. A cohesive, tightly performed sound. Anthemic, Rammstein-esque vocals bring it to an end.

Overall – A very capable performance, consistently delivered, from start to end, ‘OGAB’ is a well workable speed/thrash/death combo, wasting no time in revealing its thrash metal identity. It’s only let down by the low sound levels, but otherwise, it’s quite a classic sounding EP.

8/10 ********

For fans of Trivium, Valhalla, Rammstein.

DIY digital release – 7th August 2020. Available to pre-order, from the Bandcamp page.

Posted July 22, 2020 by jennytate in Uncategorized

Abhcan – ‘The Pit’   Leave a comment

Beginning some 20 years ago, by a duo of old school friends, Gast and Steph, Abhcan started life as a casual covers band. Later added to the mix were Yaume, Arno and Lina. Carving out a more hard-core edge, they eventually began composing original tracks. Numerous Paris-based gigs followed. Their debut demo, ‘Redemption’, was released in 2015. The vocalist then left, because of location issues.

Once Lina completed the line-up, in 2017, her brand of vocals, (incorporating melody, ‘chest singing’ and deathy extremity) fast forwarded the concept of their debut album. This album was to become ‘The Pit’, brought to light in 2019. Set for release soon, a promo Parisian tour is ongoing.

Soon available on CD, ‘TP’ is now out, on all digital platforms.

Wild Wave Records. Mixed and mastered by Neil Damon. Cover art – Lina Benabdesslem.

Into The Pit – Low down bass intro, closely followed by gentle riffs, in an ethereal backdrop. Mid-paced, rhythmic drums. Ending on haunting flutes.

Times Up – Faster paced heavy drum rolls intro. Soft, melodic feminine vocals enter, moving, easily, into harder edged sounds. Alternating between gentler and edgier vocals, accompanied by tight, well timed riffs. Drums growing more intense. Coming to a building climax and smooth fade out riff. Well structured track.

The Pit – Coming in, gradually, with a touch of wah, exploding into life, the riffs make the statement here. Picking up the pace, with that fresh, modern mix of raw, raging vocals and softer, lighter tones. Resonant of Courtney Love’s Hole. Intensifying the deathier aspects, working in perfect tandem with the rockier, Halestone-esque elements. Driving that hard-core edge further, adding a spoken word section. A lot of talent in that natural vocal delivery, especially within the smooth progression from one extreme to another. Riffs hitting a faster rhythm now, surrounded by a vaguely Celtic atmosphere. Soft melodic strains add vital catch, amongst monster growls. Drums closing, on powerful hits.

Substitute Reality – Deliciously high-pitched riffs open. Very much an instant mosh track. Slight sci-fi-esque technicality to the riffs. Vocal scales climbing, successfully, up and down the ranges, backed by heavy riffs and drum beats. Quickened rhythms characterise this track. Blending death roars with higher melodies, riffs coming into their own, in a tumbling down format. Easily moving, from greater sustained sections, to tighter deliveries. Ending on an impressive scream.

Mother – Delicate solo vocals intro, narrating a melodic fairy tale, setting the scene, for a fragile, poignant track, meaningfully conveyed, instrumentally. A beautiful portrayal. Brief, but touchingly executed.

Sex It Up – Vivacious drum intro, perfectly complemented by the sensual vocals. A clearly rockier number, with rhythm at its heart. Smoother delivery, generally and a definite kick to it. Very riff central, electrifying and fragile, at once. A real buzz to this, though. Crashing ending of riffs and drums.

Redemption – Part III – Opening on a gorgeous slide riff. Moving right into smooth, beautifully light, melodic vocals. Steady pace, lilting, Celtic vocals move between artfully placed accompaniments. Gradually exploding, into a colourful crescendo of sound. Very Evanescence-esque. Just a beautiful track, filled with melody and feeling. Those growls bring another dimension to the sound. Ending on a carefully constructed riff fade out.

Reflection Circus – Gorgeous Harp intro! Soon exploding into vivid life. A fun, engaging track, with lots of bounce. Here, the drums get their day, with plenty of active fills. A high-pitched number, with lots of variation. A great showcase of Abhcan’s versatility. Always, that hint of Celtic influence, lingering, in the background. More cymbal involvement. Riffs growing quite theatrical, in places. Evoking powerful imagery. Hitting some impressively high vocal pitches, drums growing steadily faster. Climbing down, into a sinister closing tone. Hugely fulsome track.

Woman – (Bonus Track) – Poignant intro chords, string instruments in the background. Heating things up, as it hits a faster pace. It’s a more sombre sound, plausibly vocalised. Very fluid track, with lots of flow. Beauteous, Latin tinged guitar tones. Ending with that same melancholic atmosphere.

Overall – A profound and hauntingly atmospheric listen, ‘The Pit’ is a complex, imaginative album, both fulsome and versatile. As a debut, it’s impressively crafted, reaching every corner of the psyche. The volume just needs ramping up, a bit, but if this is anything to go by, then further Abhcan offerings will be something else.

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

For fans of Wintereve, Evanescence, Within Temptation, Epica, Halestorm, Hole, Emerald Shine, Dark Forest.

Official ‘Redemption’ III video:

Spotify –
Deezer –
Apple Music –
Youtube –

Posted July 21, 2020 by jennytate in Uncategorized

Eternal Judgment – ‘Judgment Day’   Leave a comment

Founded in 2008, in Montréal, Canada, Eternal Judgment are a lively thrash metal quartet, with an ever-growing fan base.

Always a crowd pleaser, EJ have shared the stage with numerous well-known Canadian bands, for instance, Cryptopsy, Blackguard, Quo Vadis, Anonymus, Mononc Serge, B.A.R.F., etc.

Following several line-up changes, the band have come into their own signature style now and having performed more than 50 shows, their star looks set to rise.

EJ is: Remy Redneck Roy (guitars and vocals), Simon Roots (guitars and backing vocals), Cedric B Pelletier (drums) and David Paul (bass – live).

Before – Rain and funeral bell intro, with tinkling piano, growing heavier, into doom filled tones. Dark and light inter-play, in a strikingly unique piano solo. The heaviness is extraordinary.

Judgment Day – Blackened shouts intro, amid classic thrash riffage. Impressively intricate riff melodies give way, to shouts of rage, before returning, to accompany and carve out their own space. A darkened edge characterises the sounds. Very impassioned performance, ending on convincing power screams.

Sadistic Vengeance – Mighty drum roll opens, onto a landscape of melody and power. Well blended combo of speed, power, thrash and gore. Extreme and still melodic. Definitely more melodies in here, with the riffs standing tall, above the parapet. Great sustain. Cleverly woven catchy rhythms and stacked with life and energy. Brilliantly timed fade out.

S.A.S. – Beautiful, solemn steel string intro, moving seamlessly, into a blast of energetic drums. Fabulous riff solo intensifies, till the energised vocals enter. Strongly atmospheric, a fresh sound permeates this and it’s skilfully arranged, with heaps of unique touches. Such an uplifting sound. Returning to the poignant steel strings, at the end.

Outlaw Statement – Powerful drum roll intro, right into raw edged aggressive vocals. Slick, electrified riffs work intuitively, with the drums, both banging out a hugely catchy rhythm. Gorgeous melodies take it to the top. Increasingly heavy, racing through the track. Those drums are so edgy and the riffage, insanely powered. Absolutely loving that delicious screaming riff, towards the end).

The Evidence (Losing You) – Opening on a wobble effect, leading into sombre steel string riffs. Vocals now taking it into alternative realms, creating a fabulous mix of grunge, heavy-metal and melodic tones. So passionate. This is one emotionally raw track and it’s just beautiful. Here is a sound in a class of its own. Blending hard rock aspects with softer touches, showcasing the true artful extent of the creativity possible within metal. Incredibly affecting, standout track.

Purgatory – Careful, light, percussive intro, segueing, into Latin-esque riffs, ringing with feeling. This short, but amazingly delicate instrumental is the perfect example of how to make a guitar sing. Pure emotion.

Left For Dead – Strong, hard-hitting, metallic intro. Rocking it right back up again, heavily echoing Almost Dead, in places. Classic metal riffs drive it forward, with physically palpable drums and a consistent, rhythmic pace, within which, those impassioned vocals fit, like a glove. Slight echoes of Metallica’s ‘Through The Never’.

Dead End – Darkly ominous steel string intro. Leaving a well timed pregnant pause, before exploding into incensed vocal rage. Expertly hit and held notes. Rolling into rapid fire drumming. Painting out a lyrical scene, with consummate ease. Good strong beats. Tastily exotic riffs adding to the blatant feeling, cemented by the precision of the power screams and heightened riff pitches. Just a classic.

After – Banging intro! Straight in, with exact screams and wild intent. Speed riffs fly through the space, like a loaded gun. Clear, determined direction keeps the momentum up, throughout. Sleek riffage making its way, as the track unfolds. Drums gaining greater ground. Very Dickinson-esque screams bring it to a striking halt, as the riff finale skids into place.

Overall – Impossibly powerful, extraordinarily performed and impressively unique, ‘Judgment Day’ is a truly outstanding album, showcasing the incredible sounds possible, from combining such diverse extremes of metallic range.

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

For fans of Soulforge, Iron Maiden, Electric Vengeance, Metallica, Almost Dead, H.O.D., Emerald, Enforcer, Pantera, Danzig, Judas Priest, Metal Church, Portrait.

Posted July 20, 2020 by jennytate in Uncategorized