Archive for August 2020

Arapacis – ‘Deja Hard’   1 comment

Introducing ‘Deja Hard’, the new 4 track EP, from Canadian based metal band Arapacis.

Tale Spin – Familiar classical organ intro leads into uplifting electric melodies. Memorable catchy chorus, invigorating feminine vocals convey the sound, with equal parts grit and fragility. Light touches on the keys, still delivering enthralling tones. The stand out feature has to be those gentle vocal scales. A jazzy section, infused with folky violin enters next. Keys growing stronger. Vocals more intense. Quite an impressive transition between throat shredding grit and softer, natural tones. Ending intuitively.

Horror Show – Beautiful tinkling keys intro, with a rain effect, moving into a classic soft rock section. Vocals make the transition smoothly again. Good strong beat to the rhythm. Here’s where the vocals and accompaniments slot together, naturally. Shrill riffs pierce the air, in a very Vai-esque way, slightly echoing ‘For The Love Of God’. Softened vocals express the message well, capturing its essence, with just an edge of gravel. Great melodic riffs synch with the vocals, ending on another few key notes.

Fast Fingers – Rocky riff intro, low down, trad bluesy melody brings it home, with that natural touch now familiar to Arapacis. Much more riff centred, this time. Really classic sound to it, before the violin and cymbals join in, showcasing the many directions in which the band’s music goes and just how smoothly they merge. Combining folk rock, with slight country hints, old school blues rock and harder edges. Coming to an abrupt, but well executed end.

Crisis – Beautifully performed riff intro, assisted by steady, consistent cymbals. Those sharpened, gritty vocals move in again, blending together, once more, with the gentler tones. V Space Parasites-esque and increasingly so, as it continues. Always, the rhythm’s sustained, as the melodic essences merge, perfectly and the riffs get more acute. Climbing back down again, never losing the rhythm. Just a well presented vocal and instrumental marriage. So in tune, throughout. Rapid, but cutting end.

Overall – Another well composed and constructed outing, for Arapacis, accessible as ever and flowing as well and as naturally as ever. A band who never disappoint, ‘DH’ just proves their depth, chemistry and individuality. Uniquely structured and deftly delivered, with all the stand out features and creative intelligence we’ve come to expect of Arapacis.

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

For fans of Space Parasites, Deep Purple, Steppenwolf, The Velvet Underground, Peter Frampton, Yes, Steve Vai.

Official Tale Spin Video:

Posted August 26, 2020 by jennytate in Uncategorized

Sudden Death – New Album And Line-Up Addition Announcement   Leave a comment

Sudden Death, Italian metal band announce new member Francesca Marcini, as rhythm guitarist and a new album, in the makings.

As all live shows are currently cancelled, due to COVID, SD are busy, behind the scenes, prepping their new album, soon to be announced.

Fans can still access band merch, from the webstore, while the band polish their performance, ready for their return to the stage, post lockdown.

All updates can be seen on SD’s website.

Posted August 25, 2020 by jennytate in Uncategorized

South Of Salem – ‘The Sinner Takes It All’   Leave a comment

Released 25th September 2020, ‘The Sinner Takes It All’, the debut album from Bournemouth-based hard-rock band South Of Salem, is the culmination of 10 years work on a variety of music endeavours, playing support for bands such as Iced Earth, The Damned, Wednesday 13 and The Birthday Massacre.

Produced by the legendary Scott Atkins, (Cradle Of Filth, Amon Amarth, Sylosis, Behemoth), ‘TSTIA’ is an anthemic burst of classic sounding tracks, with a unique touch, gothic signatures and contagious melodies. It was recorded at Grindhouse Studios, Suffolk.

SOS got one sold-out show in the bag, before Covid came along and locked down the world. The situation just drove them on further, though and so the album still happened.

‘TSTIA’ is a lyrical thematic nod to the skewed priorities present in current climates, satirising, in a sense, the 1980 ABBA hit, ‘The Winner Takes It All’. Exploring, in addition, the personal and professional challenges affecting the band, as individuals, it soon emerged that it’s subject material was also common to present times.

So in the wake of Corona virus, the album tackles, in depth, the many negative, damaging outcomes, driving and intensifying abuse and exploitation further and driving home the message that it has to stop.

Let Us Prey – Rain and thunder opening, with heavy rock riffs and a brief voice-over, before exploding further into hard-rock vocals. Huge melodies, anthemic catch and solid timing. That’s addictive, from the word go. Confident, driven performance, perfectly aligned accompaniments, massive hooks, ending with finely honed definition. How to rock, down in one.

The Hate In Me – Smooth riff intro, hitting the drums hard, classic, relatable lyrics, expertly conveyed. Heavy to the max, with absolute precision rhythm. These are meant for metal vocals. No hesitation and no doubt at all. Just a fabulous, melody stacked, hugely catchy track, that rocks, from start to end.

No Plague Like Home – Vicious drum hit intro, precise and palpable. Again, so lyrically accessible, taking you right back to the best of 90’s hair metal and hard rock hell. This is a revival of the classic G’N’R’ sound, for 2020. Slick, sleek, sexy as fuck. Great, powerful, tumbling drums, screaming riffs, anthemic vocals, complete cohesion, crashing to an incendiary end.

Pretty Little Nightmare – Single, penetrating riff intro. Drums coming in, with that same precision rhythm. Meaning wound well into those contemplative, yet still sexy vocals. Narrative threads throughout and very Devilfire-esque, in sound and style. Making those riffs scream, in the sexiest, most orgasmic way. Building it up, to a more intense melody, then bringing it down to another crashing close.

Made To Be Mine – Buzzing into the fray, with orations injecting emphasis. A more complex structure, with every bit as much slickness, it’s the best in sleaze rock. Bringing it up and down, in all the best places, this really hits the G spot. That drumming gets you, every time. Just a thrill ride, right to metal Valhalla.

Cold Day In Hell – Straight in there, with a banging intro! Melody revealing itself, from the start. Instant hard hitter, humongously catchy chorus and just impossible to avoid getting lost in. Full on hard-rock escapism, with all the magic ingredients. Keeping you in suspense, during that lead up to the end, in the sexiest way, before blasting you, with an ultra-heavy melody, once more. Divine.

Demons Are Forever – Darkly atmospheric drum fill and mournfully sexy riff intro, with a funereal bell in the background. Very Metallica-esque, echoing ‘The Black Album’ era. Sublime anthemic group vocals, at the chorus. Just delicious. Destined for the heights. An unmistakable hit. That melody just takes you away, to rock paradise. Velveteen, intensifying screaming riffage tops it off, gorgeously. An even sexier, even rockier echo of ‘Nothing Else Matters’. Brain searing, in the most metallic way.

Another Nail In My Coffin – Grungy riff intro, curious brief spoken word, taken into a truly sleazy territory. Straight out rocky melody, transporting you back to the 90’s heyday, again. That attitude and swagger hits the nail on the head, every time. Sliding right into the skid, driving right to the centre of hard rock heaven and teasing you, relentlessly, with constant hits on the punchbag, till the end.

Severely Yours – Great fulsome bluesy rock riff intro. Fabulous drum rolls, intensely infectious. This has got a real roll to it. Great structural teases, building the suspense up, to just the right point, till it explodes, full force, again. This here is how to shoot the metal load, in the sexiest way and still have groove, to spare.

Dead Hearts Don’t Break – Bang! Straight back into it again, with slide riffage and tip top drumming, once more, bringing in those gorgeously sexy vocals, for one last go. Huge rhythms, soaring anthems and easily memorable rock lyrics. Just rocking and rolling along, with palpable breakdowns and haunting sounds. Ending with clear-cut, unforgettable precision.

Overall – How to make a statement in high definition rock! ‘TSTIA’ is powerful, beyond measure and too sexy for words. This is one memorable, hard-hitting album and if you listen to one hard-rock album, this year, make it this one. SOS are beyond talented and a supreme force in metal. Proven with every track of ‘TSTIA’. Pure hard-rock gold.

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

For fans of Devilfire, G’N’R’, Duff McKagan’s Loaded, HIM, Skid Row, Warrant, Motley Crue, Metallica.

Track 7 – Featuring Alex Avdis (Red Method).

Scott Chalmers Photography: –

Pre-order ‘TSTIA’ –

‘Cold Day In Hell’ Official Video –

‘Let Us Prey’ Official Video –

Posted August 24, 2020 by jennytate in Uncategorized

Kadeem Ward – ‘Elegy’   Leave a comment

Introducing ‘Elegy’, the 4th studio album from Kadeem Ward.

Disaster (2) – Heavy cymbal intro, leading into a deep bass line, aggressively strummed. Equally deep vocals, intriguingly performed, in a monotone, accompanied by bluesy riffs. A sharp edge to it, even through the dullness of the texture. Almost chant-like vocals, retaining a constant depth. Single bass notes meander amongst the same dull chords. Very dark atmospherics characterise the track, throughout. Ending on a single ringing drum echo, like the reverb effect, from having smashed your head on a wall, just before the stars appear.

Psychedelic Carnival Of Doom (2) – Buzzing intro, moving straight into a heavy blues refrain. Lots of groove and rhythm. Sharp riff acuity follows, screaming through the space. Portishead meets Deep Purple, with Cream and Clapton. Again, it’s got that deep, dull, heavy monotone, familiar to KW’s music. Something of a narrative thread, mingled with psychedelic fantasy. Fading out on that same tone.

Neg Kap Pote (2) – Plucky mystique opens. Flowing into another dull tone, with tighter sections inherent. Getting into an easier, looser flow now. It’s increasingly bluesy, with strong 60’s echoes and powerful sustain. Acute edges to the riffage, whilst retaining the clear depth, but with added melody. Very classic blues rock emphasis, with whooshing sounds, mingled with echo effects. An effective track, escaping into the groove and ending on a few single riff notes. He’s audibly getting into his stride here.

The Temple Of Strange (2) – Stronger bass intro, instantly evoking recollections of his original version. Piercing riffage bursts through the walls, as the vocals just struggle slightly, to reach the lowest notes. Once again, it’s dark atmosphere adds unique character to the sound. Intelligent combo of riff acuity and deep, dull bass and vocals. Ending on the sharpened riffs.

Velvet Hills, Carnal Pillars (2) – Once more, deep bass tones intro; this time, rapidly accompanied by subtle cymbal hits and mysterious vocals, as deep as before. Almost hitting the same vocal tone as the bass. Back to that samey monotone, with some slight tonal variations. Still, it’s largely samey, in pitch. A bit more melody enters the riffage, then it folds into a trippy journey, mired in psychedelia, before ending on a series of tight, insistent drum hits.

The Aeon (Vision III) (2) – Opening with an echoic set of strummed chords. Light drumming follows, with a cacophony of deafening sound. More of a percussive track, with some lighter riff melodies penetrating. Hypnotic chanted vocals break through, characterising the track, with ominous mystery. The riffage is still strong enough to stand out, though the mesmeric mood keeps it ensconced in a more ambient arena. A little too much physicality to the cacophony, even with the shrill fading riffs. Slight sci-fi ending.

Time Machine (2) – Sinister intro riffs, then moving into more melodic territory, again. That Portishead sense returns, mixing, once more, with the riff meister blues virtuoso sound. Another powerfully bluesy one. Pure instrumental, brief enough to catch its emphasis. Zep’s ‘Moby Dick’ meets Cream’s ‘Disraeli Gears’ era.

Sporesphere (Vision II) (2) – Gradual grunge intro. Getting quickly into the swing; the term emphasising the feel of this. Steady rhythmic mood. Combining the roughness of the chords, with the melody of the riffs. It’s slightly tinny, but very atmospheric. Again, the blues thread’s ever present. A little repetitive, but melodic enough to enhance listenability. A pleasant enough instrumental.

Lustful Fantasies (Vision II) (2) – Steady percussive intro, more quiescent, with matching gentle riffage. A bit of an intriguing angle to this and it’s a bit of a mishmash of funky, jam type sounds. This one really carries the same aural theme, throughout. It’s a variation on a theme. Definitely got a jump to it, though and a powerful essence. Very riff centred and fading out on the same.

Elegy (Vision II) (2) – Pitter patter intro, creating a light rain effect, moving, gently and fluidly, into the same refrain. Continuing down that line, it’s still got the blues funk feel, emanating a slight early blues rock influence. It’s consistent, if nothing else, with its melody, throwing a slight jazz slant in there, too. Very repetitive underlying rhythm, but it does add a new higher riff melody, over the top, at the mid-section. Melody growing, in height and volume, towards the end, with a little improv, here and there. Sharpness catches the edges of the closing riffs, melding with a slight Hendrix-esque blues refrain. Accompaniments all uniting, at the end, with an audible shimmer effect. Still, the same repetitive chorus persists, till the end, but it’s pleasant melody warrants a listen.

Overall – Definitely a step further on for KW, this is his best work yet and though it does still need more variation and a degree of work on the vocal tones, in places, its main bluesy essence remains and the shorter track lengths go a long way to emphasising its melodic advantages and making it much more listenable. Influence and invention are audibly equal and overall, it’s heading in the right direction.

7/10 *******

For fans of Portishead, Deep Purple, Cream, Eric Clapton, Jon Spencer Blues Explosion, Led Zep’s ‘II’ era, The Stones.

Kadeem’s music is available on all digital platforms.

Posted August 23, 2020 by jennytate in Uncategorized

Last Of The Misfit Heroes – ‘Misfit, Misplaced’   2 comments

Founded April 2019, Last Of The Misfit Heroes are a rock trio, from South London, UK, consisting of Steve Catt (founding member and lead guitar and vocals), Andrew Jackman (bass, backing vocals) and Chris Catt (drums).

Their debut track, ‘Wake Up Call’ (August 2019), received international airplay and its associated video featured on ‘Best Seat In The House – Rock Videos’.

This, their debut 4 track EP, ‘Misfit, Misplaced’ was launched on April 1st, 2020. The ‘Pieces’ video launched in May 2020.

A forthcoming documentary, ‘Creating A Misfit’ will emerge at the latter end of the year. It charts the rise of the band and the creation of ‘MM’.

‘MM’ is accessible to stream, digitally.

Misfit, Misplaced – Bass line introing, onto a neat bit of wobble, followed by a brief voice-over, before a classic explosive rock refrain takes over. Classy production, good sound values and a lot of steady rhythm. Quite tasty riffs, strong vocals and well paced drums. Melodically sound, upbeat and surprisingly impressive sustain, for a debut. Ending on another brief voice-over. It’s already made its mark.

Pieces – Gritty opening riffs, plenty of groove and intriguing lyrical contents. Interesting beat to this one. Great smudgy riffs, building the beat up. Cleverly structured. A little short, with an abrupt, but well performed cymbal ending.

When My Empire Falls – Curious sound effects intro, then the hard rock riffs kick in, with the bluesy vocals. Tight delivery, melodic and typically rocky. Just very slightly melancholic sound, but it’s mainly more uplifting, with a consistent rhythm. Again, a bit short, but its execution’s spot on.

Wake Up Call – An initial blur of voices and sounds, then straight into a quick paced hooky refrain. Slight echoes of The Clash. Good breakdown, slotting in, with precision. Strong chorus, effortlessly vocalised. Tight band chemistry here. Returning to the blurred voices, at the finale.

Overall – A markedly impressive production, for a debut, with its consistently good audio values, rhythms and melodies as its standout features. Sliding easily, between upbeat hooks and melancholic hints, with its uplifting emphasis as the driving factor, the only point for slight improvement is the shortness of the tracks, but generally, it’s bouncy, catchy and a fun, easy listen.

8/10 ********

For fans of The Clash, The Smiths, The Offspring, Oasis.

Official video link for ‘Wake Up Call’-

Official link for documentary trailer –

Posted August 22, 2020 by jennytate in Uncategorized

Wills Dissolve – ‘Echoes’   Leave a comment

‘Echoes’, from Houston, Texas prog, black/death metal band Wills Dissolve is the new epic 32 minute single, following their debut full-length, ‘The Heavens Are Not On Fire’. Based on the vagaries of space exploration, from the astronaut’s perspective, in a scenario in which, Earth is no longer habitable. Conceptually, at its heart is the destructive consequences of the actions of humans. Covering various genres, including prog, death and black metal, ambience etc, it’s a very fluid sound, with lots of aural motion.

Officially released Friday 28th August 2020, via Hypnotic Dirge Records, ‘Echoes’ will be launched as a Digipack CD, plus other exclusive merch. Depicting a possibly looming future, it’s a dark and sinister warning of what may be yet to come.

Artwork by Adam Burke (Nightjar Illustration), ‘Echoes’ was mixed by Andrew Caruana (guitars) and mastered by Brad Boatright (Audiosiege).

WD are a quartet, with inspirations originating from Houston’s past with astronomy. Founded in 2015.

Utilising a narrative approach, WD take ideas from their prog inspirations, including Pink Floyd, Rush and Yes and other forms of influence from Opeth, Isis, Isahn and Darkspace. Their sci-fi, planetary journey began with the ‘THANOF’ album, charting historical landmark events. Taking things another step further forward, ‘Echoes’ continues with this same general theme.

Echoes – Opening slowly, with a very proggy vortex of sound. Riffs entering, on mournful tones, slowly speeding up, slightly, merging into a radio voice-over. Plucky, tighter, ominous riffs blend with a dark surround. Vocals entering next, echoing, into the blackness. Jumpier riff tones take over. Shimmering audio effects intro mystery and more dread. Exploding, from there, into a classic black metal sound, roaring growled vocals convey the same sense of dread. Softer, more melodic vocals overtake, with Vai-esque riffs, bringing some colour and light. Intensifying the sound and feel of the melody, bringing in the depth of the bass and mingling it with that more psychedelic melodic emphasis, of Satriani-esque proportions. Battle drumming takes it back into gory territory, with light steel surrounds. Gentler tones then enter, creating a more ambient sound. An almost reverential vocal arrangement follows. Group vocals add to that haunting sense. The melody becomes melancholic, before taking things up, a few notches. A sense of intrigue infiltrates, before reintroducing the blackened gore, including some darkened screams. Now moving into stronger doom arenas, with hints of stoner and touches of fantasy metal. Combining several conflicting sounds and genres, before folding it up, into a swirling vortex and then recreating a similar mystical sense, for the next section. Monster growls return, amongst heavy riffs and drums, then swallowed by blackness, changing to light, in a kaleidoscopic effect of intermingling flow. Penetrating riffs and gradually ebbing and flowing vocals come next, as the riffs turn to gentle acoustics, blending with electric light riffs, building it up, to a higher sound, gradually, moving in and out of itself, before once more, changing form. Dark suspense encapsulating the following arrangement, with an entourage of harder drumming and black death roars, again. Drums get heavier, as the blackened shouts increase and intensify. Palpably heavier atmospherics embody this section, as the vocals lift, as it moves, smoothly, towards the end. Cymbals join the drums there and an anthemic vocal strand enters. Quite a powerful sound, as melodic psychedelia returns to the riffs, before ending, on strong doom atmospherics, combined with a lighter, lilting flute solo and equally lighter, gently strummed riffs and closing ambient chants.

Overall – An intelligent, creatively crafted journey, into the most profound depths of space, ‘Echoes’ certainly conveys its intended message well. Portrayed through a complete miasma of shades and sounds, this is one for meditative purposes, depicting intriguing aural portraits of the vast possibilities of otherwise incongruent extremes of metallic sounds.

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

For fans of Chaos Over Cosmos, Dark Ocean Society, Dark Years From Now, Pink Floyd, Opus, Coheed And Cambria, Steve Vai, Joe Satriani.

Posted August 21, 2020 by jennytate in Uncategorized

Second Cities – ‘Love And War’   Leave a comment

Birmingham-based emo melodic hard-core band Second Cities now introduce ‘Love And War’, the 2nd single from their debut EP.

Formed 2017, they’ve so far played support for tour bands from the USA, including Chaotic Resemblance and HUNDREDTH. Former releases include Oceans (Elemental Hero Bubbleman) and the associated video. (The latter portrays the unusual aspects of current life, due to Covid 19).

‘O(EHB)’ received 20 K+ digital streams and was widely esteemed, amongst the mainstream music media.

‘LAW’ is constructed around the sounds of modern prog metal/post-hard-core, with emo lyrical influences.

Musically and technically, it takes inspiration from Bring Me The Horizon, RATM and Velvet Revolver. Thematically, it’s based on our relationships with ourselves and others and all the judgements, highs and lows that implies.

Other inspirations: Linkin Park, Sum41, BMTH, HUNDREDTH, My Chemical Romance.

Love And War – Very punky intro. Drums open, onto a protest rock atmosphere. Riffs melodic enough and there’s clear vocal enthusiasm. Production a little bit rough, backing vocals not always well aligned with the leads and vocals sometimes struggling to hit certain notes and sync with the timing of the accompaniments. It’s rhythmically good, though, with adequate catch to warrant a level of popularity. Definitely hitting the modern hard-core/alt mark, but just a bit too generic and lacking in any discernible originality. Ending too soon, before the actual recording finishes, it does have potential, but a lot of work to be done, to get it past the point of average.

5/10 *****

For fans of generic modern hard-core/alt/punk rock/protest rock.……

Posted August 20, 2020 by jennytate in Uncategorized

FORE – ‘Diagnosis’   Leave a comment

‘Diagnosis’ is the new single from punk band FORE, released with their new album, ‘Hombres’. (Available as a physical CD, aswell as digitally).

The cover art is by Abbie Stabby Art and features a Deep Purple tribute.

Both ‘Hombres’ and ‘Diagnosis’ are entirely DIY.

Diagnosis – Very Offspring-esque, active drum intro, leading, immediately into a classic punk refrain. Fast-paced, catchy number; melodic and upbeat, typically FORE, with hooky shouted backing vocals, just before the end. A very riff driven track, conveying the same level of fun and high spirits present in all of FORE’s music. Great anthemic vocal sections make it all the better. It’s just pure FORE). So engaging, no living human could fail to get involved. Just a sheer joy.

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

For fans of The Offspring, Green Day, C.S.O.D.

Posted August 18, 2020 by jennytate in Uncategorized

Quinn The Brain – ‘Open Wide’   Leave a comment

Available now, ‘Open Wide’ is the new 4 track EP from Texas-based alt punk rock band Quinn The Brain. A big hitter of an EP, ‘OW’ leaves a strong impact.

A year in the making, ‘OW’ has seen a change of bassist and a lot of long-distance travel, back-and-forth, between recording destinations. The ultimate outcome has been worth it, though.

Thematically, it covers a lot of ground, in relation to realism, the harshness of the industry and the resulting isolation, superstition and having your eyes opened to the truth. Essentially, its overriding message is that life is dark, complex and messy, but it works out, in the end.

QTB have played many live shows in Texas alongside bands such as Starcrawler and Skating Polly, aswell as receiving airplay on University of Houston Coog Radio and Houston Pacifica Radio 90.1 KPFT and featuring in The Best Music Of The Week, in Houston Press and also in Uber Rock, Fangz Mag and Voyage Houston.

All artwork and merch independently created.

Open Wide – Powerfully grave steel string intro, with cautiously emerging percussion and sharp vocals. Those sinister riffs return, for a solo, before blending back into the background. A stark power emanates from those feminine vocals. Drums growing slightly heavier, offset by lighter cymbals. A bit of a narrative thread to this, including a spoken word section, ominous whispers and dark atmospherics, as it fades out on another riff solo.

Step On Me – Slide bass intro, taking it into looser territory. Slight blues element to this, with a touch of funk and again, that vocal tang, a little stronger than its punk ambitions. Lots of heavy bass emphasis and a bit more slide, returning. Good bit of whammy in there and again, a narrative strand, including spoken word. Fading out casually, on a jumble of riffs.

Comes In 3’s – Similar riff intro, but now with grunge emphasis. Those vocals grow more heightened and the tang remains. It’s quite a bouncy track, obscure, in its own way, but more alt/indie than punk. Still, includes many intriguing features, amongst them, acute, siren effects and plenty of slide riffage. Good smooth riff fade out.

Dark Skies – Sharp riff tone opening. Then into a darkly grunge sound, with a mild touch of doom. The vocals stand out, for their unusual quality, delivered with a lot of zest. Quite rhythmic, plenty of unique aspects again. It’s definitely original. Little bit of wobble and a vague echo resembling a dark cave, with powerful acoustics. Well synched ending.

Overall – ‘0W’ more or less defines this EP. It’s in stark contrast to many of the samey productions trotted out at present and definitely has a signature flavour, unique enough to ensure memorability. A zesty sound, more alt/indie than punk, but with undeniable punk attitude.

7/10 *******

For fans of Obiisss, Lush, Patti Smith, Siouxsie and the Banshees, St Etienne, L7, Elastica, Garbage, C.S.O.D.

Posted August 16, 2020 by jennytate in Uncategorized

Haxan – ‘Nine Lives’   Leave a comment

‘Nine Lives’ is the new self released video from the impossibly talented Haxan (‘Skeletons’, ‘White Noise’). Featuring various strands of chaos and destruction, it’s as enthralling and exciting as we’ve come to expect from Haxan.

This new blast of full force metal took them to an abandoned warehouse, during lockdown, where they quickly set about causing mayhem, with literal fire and oil, amongst all the instruments and other accoutrements of live metal.

In true rock ‘n’ roll style, the police arrived, the moment they were about to record, due to reports of an illegal rave! Hours of assurances and negotiations followed, after which, the band were allowed 45 minutes to film. Luckily, it worked out, spectacularly and the concept was completed by some stunning artwork, courtesy of an American artist, fast forwarding things, to the point of unstoppable.

‘NL’ is all about fearlessness and living life to the full. Haxan’s debut album ‘White Noise’ is out now, available on bandcamp.

Nine Lives – Straight into a heavy melodic bass intro. True rock vocals, pumped out, with absolute confidence and conviction. Classic rock lyrics, delivered with such authenticity. Slight echoes of Sister Sledge’s ‘I’m So Excited’, yet still a great, modern sound. These guys really are a perfect example of the level of strength still present within female fronted metal. Just stacked with hooks and soaked in catch. Melodically focused, throwing out vividly colourful riffs and a real full-blooded performance. Intriguing visual skips between live and animated shots and ending on a strong, memorable lyric.

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

For fans of Fanny, Sister Sledge, Halestorm.

Posted August 15, 2020 by jennytate in Uncategorized