Hot on the heels of the soon-to-be-released album, ‘Pulse Of The Daring’, Sioux Falls March In Arms announce a new lyric video, for ‘1914’, the 2nd single on ‘POTD’. ‘Welcome The Blitz’ is also out on bandcamp and youtube. Fans can also pre-order ‘POTD’, on bandcamp.
1914 – Immediate riffs impact! Outing that sharp, electrified sound and backing it up with heavy drums and the melodically impassioned vocals so typical of MIA. A beautifully played violin section brings a moment of quiescence. Poignantly haunting lyrics join with powerfully explosive visuals, in this incredible band’s characteristic way. The sounds and images get you right in the centre of your heart. Riffs really going for it, towards the end. As with everything these guys produce, ‘1914’ is a track you get totally immersed in and feel, with every breath and every heartbeat. It’s entire body and soul is flawless, profound and so touching, from production to performance and everything in between. This track will live inside of you, forever.
10/10 **********
For fans of Wreck-Defy, Shahyd Legacy, Marius Danielsen, Dark Forest, Furyon, Fahran, Metallica.
Launched on November 6th, 2020, Swedish rock/metal band Krakel announce their new 2 track single, ‘999, No Luck’. Available online.
‘999’ is a very dark track, featuring text from Shakespeare’s ‘Macbeth’, with the greatest focus on the Witches sections.
‘No Luck’ is a track about gambling addiction. With these 2 latest songs, Krakel have attempted to up the heaviness factor.
A female fronted set-up, Krakel’s sound combines light and heaviness, with a strong melody and equally powerful lyrics, performed in a full-bodied, hard-rock delivery.
The band have been well received, around the world, by the rock press and have already amassed quite a following, internationally.
999 – Very space-rock, sci-fi intro, gradually emerging, into a powerful sound, featuring strong power screams. Enthusiastic sinister witchy vocals, from ‘Macbeth’, proving how easily contents of such different creative worlds can work together. Very strong sound, with lots of plausibly ethereal themes. Ominous, yet exhilarating. The classical sections combine so well with the metallic melodies and it just increases the buzz of the riffs. A carefully and intelligently constructed track.
No Luck – A very different extreme here, but those classical, orchestral sounds still linger, in the background. Now, though, it’s a much more metal vocal sound. A very competent one, aswell. A powerful, Gothic edge adds a little more pizzazz and variety. There’s a sharp point to the riffage, while the vocals work through a diverse range, succeeding, at every aspect. It’s an interesting track, with the casino sounds and consistent drum beat in the background. Returning to the opening gambling scenes, at the end.
Overall – A fresh, vibrantly unusual sound, with much diversity to offer and a very proficient band, performing. It’s a good example of the many and varied roads rock can go down and how effective and enlivening the sound combinations can be.
8/10 ********
For fans of Deja Doom, Space Parasites, White Crone, Lita Ford.
Released 4th December 2020, Birmingham, UK based dark melodic rockers Devilfire present their new live mini album. Available globally, digitally and physically.
A 6 track live recording, created in Birmingham, it follows their last studio album, ‘Black Soul Vendetta’. Featuring the highly acclaimed single, ‘Like A Rockstar’, ‘LIB’ is launched on the 3rd anniversary of their debut hit album, ‘Dark Manoeuvres’.
The original concept for the live production, in 2018, started as a planned live Facebook stream, born from the band’s observations of audiences reluctance to put down their phones, during gigs, so they decided to make the shows accessible, through people’s phones. Devilfire then commenced recording a streamable show, at The Crossing, Digbeth, Birmingham. In the end, they were satisfied enough with the outcome, to launch it, as a limited edition mini album. So now, in the current Covid climate, here’s a gig to listen to, from home).
Devilfire began life as Devilstar, in Birmingham, in 2013, from an early one-off studio session, with just frontman and producer Alex Cooper and drummer Lars Wickett.
After an eventual East European tour, as guests of Tarja Turunen, things really took off for the band, resulting in 2017’s ‘DM’. Some sold-out live appearances came next, prior to the EP ‘Out Of The Dark’, born of public demand. The latest album, ‘BSV’ preceded this new live mini album. Further singles and videos will be released, prior to the official ‘LIB’ release.
A Thousand Times – Straight in, with that smooth, sleek intro Devilfire are now known for. Vocals varying the tones, slightly, from the full-length album version. Good sound values, if the pace does just seem very slightly slower than that on ‘DM’. Drums adding those well-placed beats, riffage as creative and melodic as ever. It’s got a very pleasant steady groove to it, centralising that rocky rhythm. Ending on an audible metal shower, just a tad abruptly, but very decent quality, generally.
(You Gotta) Revolution – Coming in just very slightly too late, but still, retaining the energy and high-level sound. The sharpness of the riffs is actually more pronounced here than usual. Always keeping the flow and pace, confidently. Vocals as able and melodic as ever, though the energy seems to have dropped off a bit, here. There’s a sense of tiredness audible. Drums giving it a great effort, with that colourful riffage. Definitely more instrumental than vocal, but those accompaniments are played to a very decent standard. The vocals may be uncharacteristically struggling, but the rest really comes together, at the end, for that final hit).
Kill Your Love – Banging, if somewhat unsure intro. Picking up the pace, soon after. Again, the vocals are trying, but sound exhausted and breathless. Cymbals a little quiet, but well timed. The melody’s there, still, though a few corners seem to have been cut and spliced. The riffs adding that vivid edge, with the drums, again. Liking that gorgeous little twiddly paradiddle from ‘DM’ and once more, the ending cuts it well).
God Gimme Vengeance – Strong, clear cymbal hit intro, riff tones a little flat, but still melodic enough. Slowing down, slightly, from the original. Those notes just feel a bit overstretched, in places and once again, Alex’s vocals are so unusually drained sounding. It also does the track little justice, cutting out the aspect of the mid-section, giving the original a real burst of passion. It’s just slowed down, lacking in energy and has to be said, not a patch on the excitement and enthusiasm of the original. This time, sad to say, the ending follows suit, cutting all the acuity of the drum parts and sounds like it’s sighing it’s final breaths.
She’s Like Fire – Opening a moment too late again, the riffs do their best to keep the verve of the ‘DM’ version, but yet again, the rhythm’s slower than usual and the backing vocals off key and dropping off, like flies. Backing vocals trying to pick it up a bit, but once more, the mid-section’s been cut and it really shows. Melodically, so-so, but something’s badly amiss in this sound. At least the drums give it all they’ve got, for the close.
Waiting For A Rockstar – Good intro! Where have the top notes of the intro riffage gone, though? Unbelievably, the vocals once again sound like they’re dying. Huge vocal sections are just missing, completely and the whole sound’s so out of character. The riffs do bring it back, a bit, later on, backed by the still strong drums, but Alex’s vocals have really dropped off, sadly. Riffs still doing their best to keep the feel going. Right at the end, the speed gathers and the accompaniments ensure it ends on an okay-ish note, before several seconds of dead air.
Overall – Contrary to expectations, ‘LIB’ is an exhausted mess of sounds, resembling the picture of an overtired, rushed together production, with all the best bits edited out. It’s a band who’ve gone from the peak of their game, to complete burnout, drained of all energy, hanging on, by their teeth. Given their usual high quality, it’s a sad reflection of a changed performance, coupled with very poor production. Unrecognisable from the band I’ve come to know and love. Let’s hope this is just a temporary diversion from the norm and they up their game again, soon.
Introducing Aussie stoner/power metal band Fierce Deity’s new single, ‘A Ballad Of Heartbreak And Despair’.
The 5th and final track in a series of singles, entitled ‘The Trials’, it’s accompanied by a lyric video. 2021 will see Jonathan Barwick, originator of FD, commence a huge new concept, code-named ‘PWC’, which’ll be produced and performed live on Twitch.
FD began life in July 2019. ‘The Path’ was the debut single, opening TT. The series was inspired by personal crises, besetting JB, at the time, leading to the conclusion that acceptance of, rather than avoidance of personal Demons is the way forward.
‘ABOHAD’ features guest vocals by Andrew Hudson, from Harlott. His means of pushing profundity forward, through musical chaos, combines with J’s way of utilising the opposite force of order, to bring forward meaning, creating musical chemistry and cohesion. ‘ABHAD’ is out now, on all streaming sites.
A Ballad Of Heartbreak And Despair – Opening with an Oriental melody, before soft, gentle, yet powerful vocals enter, singing a sorrowful song. Yielding to doom-laden funeral bells and then, …. a strong speed metal sound). Very much anthemic, with a heavily classic vibe about it. Drums adding life and energy, with the metallic riffs. Smooth, effortless performance, delivered with naturally adept flow, between pitch, timbre and tempo. Returning to the opening solemnity, then following it with energised metal feeling. Drums speeding up, as the power metal riff sound gathers. Traditional anthemic metal vocals sing out, with total conviction and heart. Impassioned lyrics fade out, back to the Oriental melody, closing. A stunningly beautiful and deliciously metallic track.
Lyric Video – Mysterious visuals of a man in a cave, by a fire, amongst the stars, adding another dimension to the track. The image stays the same, making even clearer sense of the vocals. It’s actually quite a moving combo, giving more focus to the lyrics. It’s a great motivator track, astutely showing all the band’s social media sites, in the lyric bar. The colour of the sky eventually lightens, around the image, as the fire and smoke dissipates and the sun rises, behind the cave. A very profound and meaningful video, supporting the track well.
10/10 **********
For fans of Manowar, Queen, Silent Winter, Europe, Toto, Survivor, Journey.
A classic rock ‘n’ roll quartet, from Finland, Blackbird Sons has been going since 2016 and in that time, has already built a strong reputation, in rock media. The audible AC/DC-esque sound is what makes their traditional style music memorable and catchy. Also inspired by The Who and ZZ Top, but with their own signature quirk. Versatile enough to enjoy rocking out in the studio and at live gigs, equally, BS showcase their energy in both.
Following their previous productions, ‘Back In The Game’ (2017), ‘Rock ‘N’ Roll Ain’t Dead’ (2019) and ‘Top Of The World’ (2019), ‘Dance With The Devil’ is a fresh release, for 2020.
All tracks available on Spotify.
Wild And Free – Well delivered intro groove. Very traditional R’ N’ R’ sound, straight away. Very Def Leppard-esque vocals, combined with AC/DC-esque riffs and drum hits. Slight anthemic group vocals, a little too quiet and just slightly superfluous, but omitting that, the accompaniments work well with the main vocals. A standard rock track, with a bluesy tone.
Dance With The Devil – Very Whitesnake-esque intro, echoing ‘Crying In The Rain’. Right into another loosely delivered rock number. It’s very derivative, but no less pleasurable, for that. If anything, it actually transports you to that golden era of straight out, upbeat rock sounds and all that went with them). Have to say, though, that the Rose-esque closing vocal really doesn’t work and spoils the mood. However, this is a tight band, with a very together sound, through which, their pleasure is audible.
On The Run – Single, Free-esque drum hit intro, leading into a very ‘Alright Now’-esque refrain, but with more of those Elliott-esque vocals. It’s still got lots of groove and plenty of well sustained rhythms. Good, cohesive chemistry in those group vocal sections and a gorgeously tangy, blues riff singing through it. Again, it’s just so effortlessly performed, that however derivative, it doesn’t seem to matter. The uplifting quality’s undeniable.
Blackjack – Immediate, groove-laden intro. A little bit Kravitz-esque, here, but sharing the same delicious funk qualities. Yep, it may well be unfolding like a classics covers album, but it’s still so enjoyable, you can leave that aside. Such a gorgeously relaxed riff style, combined with those rocky vibes just makes for a successfully mood-lifting sound. The pace is sustained and it’s spot-on, in introduction and performance terms.
You Can’t Stop Me – Quickly emerging intro, once more, the beats are just as accurate and just as lively. It’s really just a melody ride through escapist traditional rock, you can’t fail to be swept along by. Decent bit of wah in there. Here’s where the anthemic shouts really do work and carry it along, till the groove-ridden end.
Cross The Line – Deeper, Bon Jovi-esque blues riff opening. Again, however alike, it’s unquestionably delicious and so melodic. Strong echoes of ‘Wanted, Dead Or Alive’. Those rhythmic arrangements are smooth as ever and the lighter cymbal touches really work here, offering the much acclaimed delayed gratification angle, with plenty of southern blues rock grooves surrounding. Fading out on a sexy riff).
Running Train – Straight in, with a quick paced rhythm, featuring a bluesy edge. This one’s very much an echo of Crue’s ‘Kickstart My Heart’. It has to be said, with just as much gusto and obvious passion. It wins points for those tight, digging riffs, just past the mid-section. That’s a nice touch, adding something new and the rapid rhythm never lets up. Closing on a tightly built drum roll.
You Really Got It – Another of those carefully, but joyfully constructed AC/DC-esque intro’s. Yet something kind of countryish about it, with more of that southern groove. Bringing the tension up and down, in all the right places. Joe Elliott seems to have returned and that groove-filled melody just makes it. Some very decent twiddly para-diddles in there, towards the end, adding more character. Perfect drum roll ending.
The Sting Master – Okay, now we’ve moved into A.I.C.’s ‘Facelift’ era). Still, it builds nicely, with even more high factor, unmistakable groove. It’s how you’d envision a meet up and jam, with all your favourite old school rock bands). Keeping that groove up, with the tasty melody. One thing that has to be said is that it’s note perfect, throughout and expertly spaced and structured. Adding a little bounce to the equation, now, around the mid-section. Just a happy, upbeat improv riff twist, bringing it down, again, with that sexy old school inhalation, merging with the carefully counted drum beats. Good clean outro line.
Too Late Master – Emotional acoustic intro riff, joined by quiescent vocals, before the volume grows, into a wall of traditional sounding rock. Musically perfected, again, lyrically contemplative, yet accessible, with a hardened edge integral. This rhythm’s got it, in spades and it’s a really well-placed climb down close. Ending on delicious vocals, delivered in a haunting, ‘Patience’-esque acoustic style.
Overall – Okay, so ‘DWTD’ may play out like a ‘best of classic rock’ collection, but that certainly doesn’t distract from the sheer melodic listening pleasure it evokes. Give or take the derivative angle, it’s effortlessly and expertly produced and performed, with pitch perfect precision, consistently rhythmic accuracy and a whole ton of groove. Ultimately, contrived or not, it’s a damn good listen and a powerful mood-lifter, well worthy of repeat spins.
9/10 *********
For fans of Def Leppard, Whitesnake, AC/DC, The Black Crowes, Black Stone Cherry, A.I.C., G’N’R’, Motley Crue, Alice Cooper, Free, Boston, Bon Jovi, Extreme, Kiss Of The Gypsy, Rich Kid Express, Kickin’ Valentina.
Scheduled for release 11th December 2020, Leo Viridi announces his new 4 track EP, ‘The World Keeps Turning’. Following his 2019 ‘LV1’ album, the new EP features ex-Firewind vocalist Henning Basse, with production by Devin Mysyk. LV performs on guitar and bass and composed each track, including lyrics. A concept EP, exploring the meaning of life and earth, ‘TWKT’ is mainly heavy metal, incorporating prog aspects.
Break From Gravity – Lively drum and bass intro. Leading into a fresh, intriguing sound, with quirky vocals. Duetting some sections, throwing in some tangy accompaniments. Driving pace, while more restful refrains characterise the rest. Still quite a zesty approach, showcased within the riffs. Definitely a more steady, contemplative thread to it, in comparison with ‘LV1’, but there’s still an impressive power, pushing the melodies forward.
In My Eyes, As I See – Another good blast to the intro, faster rhythms make an immediate impression, even through the calmer exterior. Riffage as powered as before, with breathing space within the vocals. The energy does come forward, clearly and still plenty of melody. It’s just a different sound than past material, but that’s the intention and it works just as well, as a proggier track. You feel the passion in the lyrics and it ends a little abruptly, but it leaves a clear message.
Untold Millions – Nifty sharp riff opening. Just slightly Sab-esque, in its unexpected darkness, echoing their ‘Sabotage’ era. The vocals remain strong and the pace catchy. Good vocal harmonies. Drums fading into the background more, with the light cymbal touches. Lots of bass emphasis here. Again, room to breathe, between sections. Riff pitch heightening, accompaniments comprising more of this track. A brief stop-start section closing, slightly echoic of Sab’s ‘The Wizard’.
The World Keeps Turning – Opening gradually and subtly. Keys making an appearance, adding a Celtic edge, before the riffs explode, amongst choral voices, then yielding to the riffs, alone and a steady, repetitive drum beat. More powerful group vocals enter. The vocal message is clear again, here. Good demonstration of the point, through the consistent drum rhythm. Once more, the lyrical passion emerges. Something of an anthemic thread to this. A little more instrumental than vocal, here and there. Always retaining that hook, within the pace. Vocals always strong and sincere. The main aspect in common with ‘LV1’ is the strength of the melody.
Overall – A skilled and profound production, as expected, ‘TWKT’ is perhaps a less energised EP than ‘LV1’, though it’s just as emphatic. The emphasis has just changed direction. In itself, it’s as proggy and as adept as anticipated and it covers the point well. ‘TWKT’ does move away from the fire and verve of ‘LV1’, but remains equally melodic and rhythmically astute.
9/10 *********
For fans of Firewind, Black Sabbath, Iron Maiden, Powerquest, Fires Of Babylon.
A Finnish metal band, combining sounds from both classic and new inspirations, Soulwound have been around since the early 90’s. They aim for a brutal, but meaningful signature sound.
Harking right back to their school days, they started out by covering classics, from the likes of Nirvana, Black Sabbath and Metallica. Their first originals arrived in the latter half of 2005, the debut demo being entitled, ‘The Severance’. Soulwound was selected as the band name, in homage to Fear Factory. That title summarised their message. It was launched in January 2006, when their first live shows began.
The following year brought their 2nd demo, ‘Wasteland’, released 2007. ‘Dystopia’ arrived in 2008 and a re-recording of the tracks from ‘TS’ and ‘Wasteland’ was launched, in 2011.
Work on a full album commenced in 2011, set for recording in 2012, but was stalled, by line-up changes. Live appearances resumed in 2012 and the debut album, ‘Seeing Red’, was launched in 2013, via Kanki Records.
From 2014, more line-up changes occurred and a European tour took place, the same year.
‘No Peace’, the 2nd album, was launched, internationally, on Inverse Records, in 2016, to positive acclaim.
A final line-up change in 2019 preceded the 2020 release of 3rd album, ‘The Suffering’, delayed by the Covid pandemic, eventually arriving on the memorable date of September 11th.
Waste Of Life – Single cymbal hit, followed by a crash of drums and riffs intro’s. Sinister rhythmic melodies, speeding up, and death style vocals emerge. Very blackened delivery. Definitely entering the darker side of thrash arenas. Clear lyrics intermingle with death growls. Quite a brutal track. Slightly derivative, but still a strong performance.
Ritual Cleansing – Brief oration, rapidly drowned by fast-paced thrash riffs, segueing into another blackened sound. A blend of Amon Amarth and Bullriff Stampede. It’s impacting, certainly dark and consistently good quality, even if lacking a unique stamp. A bit of tasty whammy and very skilled speed riffage. You certainly can’t fault the delivery. Crashing to a darkened end.
Pleasures – A more quiescent, subtle intro, but without losing the corrosive edge. Very visually evocative, with monster roar vocals. Just a very black sound. Good scale expression. It’s overpoweringly dark, with no escape from the imagery of blackness. Carefully arranged, decent sound quality and the thrash still emerges, through the brutality. Fading into a tunnel.
The Cult Of I – Heavy drum hit intro makes a mark, soon joined by a drumming and riff battery. That riffage is really where the light hides. Another vocally brutal one, with very relatable lyrics. Forceful, pounding pace plays with light glimmers. That dark emphasis never leaves, though. The lyrical message gets stronger and stronger, driven home, till the end.
Enter The Hivemind – Powerful, drum and riff intro, incorporating background cymbals, portraying an audibly tumbling tower. The brutally blackened vocals return. Again, it’s very much at the extreme end of thrash. Just pure aggression. Still utilising that melodic riff scale, without ever taking the edge off. It’s a very coarsened sound, for the most part, but it still lets the light in, in places. The rattling pace dictates the flow, right to the end.
Meat Puppets – Curious sci-fi intro, with an impacting vocal message of brainwashing and mind control. Fast rhythms push it forwards. Very similar sound to before. A monster dictator roars on, while accommodating a bit of whammy and melody, till it ends, abruptly.
Error In The System – Radio interference crackles into the following roars and introing riffs. Something Dalek-esque about these robotic vocals. Similarly paced. It’s versatile, in places, though the overall sound and style doesn’t change much. The riffage is undeniably skilled and it’s that which stands out most.
This Hatred – Well controlled intro, smoothly delivered. Steady drumming. Monster vocals, aggressively performed. The roars increase, towards the mid-section. Well-placed cymbal hits act as a bridge, as the pace alternates. Another melodic injection, adding a touch of groove. Building it up, to an image of extremity, on which, it ends.
Apex Parasite – Quickened drum hits intro, onto a momentary voice-over and another barrage of riffs. Very visceral lyrics, leaving nothing to the imagination. Always rhythmic, laying down the vibe. Hitting higher pitches, creating a slightly more adventurous element. The vibrato works well, with the whammy, towards the end. Scathing, coarsened vocals hammer it out.
Death Of The Sun – Obscure terror-induced hyperventilation opens. Ominous riffs follow. A very descriptive track, with rough lyrical edges. A lighter sound inhabits the pre-mid-section, before the sinister sense returns to the melody. It’s powerfully Gothic and very Halloween-esque. The rhythm hits, with the funeral bells, as it moves towards the end. An increasingly intense blend of melo-death style thrash exits, fading out, quietly.
Overall – Unarguably serrated, ‘The Suffering’ is a well delivered slice of coarse extremity, artistically arranged and intensely black. As brutal as many other albums of its ilk, but with slightly more variation and clearer light glimpses, through the riffage, its standout USP. Dark enough to straddle both thrash and death, it’s a versatile composition.
9/10 *********
For fans of Amon Amarth, Bullriff Stampede, Skreamer, Hammerstroke.
Announcing ‘Severing The Earth’, new 10 track album release, from Toronto thrash metal kings, Mastery. Their first release in 8 years, it was well worth the wait!
Featuring founding member, guitarist Markus Armellini, vocalist/lyricist Carl Crosswhite (Mortifex, Six Pack Of Doom), bassist/guitarist Oscar Rangel (Mortifex, Annihilator, Operus) and drummer, Johnny Macri, produced by famous Grammy nominated metal engineer, Chris ‘Wizard’ Collier (Korn, Metal Church, Fear Factory).
Metal Hammer and Louder Sounds magazines recently categorised Mastery as “1 of the 30 essential thrash metal bands, that aren’t the big 4”; Placing them alongside such titans as Testament, Exodus and Overkill, as a top global thrash metal act.
‘STE’ is out on Dave Ellefson’s Combat Records. (Megadeth, Slayer, Death, Forbidden, Exodus, Possessed, Dark Angel, Kreator, Voivod, Savatage, Helloween, Celtic Frost and Heathen).
Following on from the debut 2006 album, ‘Lethal Legacy’ (Corporate Punishment Records/Sanctuary Noise Records) and 2012 independent launch, ‘The Key Of Kill’, featuring hard-core metal legend Billy Milano (S.O.D./M.O.D.), ‘STE’ is distributed by Kronic Music (KMCD003). Cover art by Andy Pilkington, at Very Metal Art.
Introduction – Deep, dark acoustic riffs intro, then explode, electrically, into life. Powerful, beyond comprehension. Soon over, but leaving a lasting impact.
Severing The Earth – Straight out, hard-hitting riff intro. Drums adding power to the mix. Fast-paced rhythms hammer it home, with stark, unhesitant vocals, creating the edge. Beating a path to metal territory, it lifts, atmospherically, with grit and heavy sounds. Riffage getting more intricate, alternating between melodic and steel feel. Very Wreck-Defy-esque stuff! Just a full on explosion of heavy metal, hitting, at full force. Ending definitively and assertively.
Mastery – Revolution – High impact intro again. This time, with a barrage of metal artillery, featuring very Testament-esque vocals and general thrash texture. Concrete heavy drums roll on, with that hard-line sense, echoing ‘Days Of Darkness’, in atmosphere, as well as sound. Tension building, higher and heavier, no hesitation here, at all. Rolling on, till the gloriously forceful end.
E.A.A. – Gorgeously haunting acoustic riffs play, for a very brief moment, bridging the surrounding tracks.
Wake Up – Bang! Only way to describe the full metallic force of that intro! Vocals just as thrashy, but slightly growlier now. Riffs digging into the darkened earth, while the drums rattle on, pounding out their rhythm. Once more, that powerful Testament-esque sound returns, with acute thrash darkness. Just heaviness rarely felt, on such a strong level. Another abrupt, confident end.
Purgatory – Explosive intro, once more, driving home the nails and embedding them in metal. Rapid paced track, with affecting rhythms and solid steel girders. The level of aggression punches you in the face, repeatedly and relentlessly, while the riff melodies sear themselves into your brain. That same Testament flavour just floods it with adrenaline. Speeding up, some more, it’s a metal extravaganza. Ending, once more, with that signature definition.
L.V.A. – Beautiful, flamenco-esque riffs create another brief bridge.
The Akashik Record – Powerful, almost orchestral intro! Matching the sense of the title, in strength and precision and then, … full on explosion of light and vividly colourful, heavy thrash riffage. This track soars upwards, with conviction, so passionately conveyed. Again, it’s so resonant of Testament’s ‘Days Of Darkness’. Riff scales heightening, then tumbling down, to a freakingly awesome breakdown, you could climb inside and inhabit, for life. Coming to a crashing crescendo, this makes it’s mark, a thousand fold.
Death From Below – Wall of metallic steel sound opening! Continuing on, with that same immensity of thrash delivery. Vocals taking on a monster magnitude of molten metal. Drumming matching it, beat for beat, tone for tone. Crazed riffing hits the heights, consistently, climbing up those scales, exhibiting sheer precision, throughout. Great, strategically placed cymbal hits just strengthen the track, even more. The sheer merciless beats of the drums alone is something special, but the impact of the collective band effort’s just immense. Fading out, gradually, this time, it makes it’s point.
The Last Chapter – Banging doors open, onto a precisely blended riff melody, rhythmically catchy and capturing the essence of the mood of the moment. Still, that persistent drum pounds. Staying on the level of the same tone, it really drives it home, as the riffs fade and the drums keep on hitting, till the last.
Overall – Incredible, compelling and all-consuming are just 3 terms to describe the impact of ‘STE’, but the band title does it best. Mastery. Just sheer metal mastery, of a very rare breed. A sound never forgotten, once bored into your brain. Affecting on the most heightened level. ‘STE’ is one of the strongest metallic sounds you’ll ever hear. Powerful beyond powerful, it stands out from the rest.
Bona-fide NYC skate thrashers SLASHERS now present their self titled album.
A cross-over sound, combining thrash with punk melodies and catchy rhythms, SLASHERS’ thrash is as hard as it gets!
Comprising members of Ramming Speed, Hightower and Prostitution, SLASHERS is what skating and Satan sound like, clumped together.
Slashers – Classic sleaze metal intro, complete with the screams and all the (other) gear. Very G’N’R’-esque. Clear and unmistakable lyrics, passion and sincerity shining through. Some very sexy riffage, doing its thing. Well-placed key change, leading into a fired up vocal, ending in a group anthem and a nifty skidding riff.
Skatecation – Straight up high-energy intro, delivered with that classic 90’s style expression. Colourful, sleazy and fun. Again, it’s very GNR-esque. Over in a flash.
Five Mile Grind – Bass intro, thrumming its way into a sexily slanting sound. Love that diagonal riff feel. Once more, the vocals are raw, impassioned and hit the screams, right on point. Even a bit of whammy in there, plus a brief section of more intricate riffage. Never losing that gorgeous sleaze mood, though. Ending on a fun, freak out vocal.
Kill Your Selfie – Opening on a mysteriously intense acoustic riff, which, as it turns out, is all there is to it. Kind of works as a bridge, though).
Snotty – Screeching feedback intro. Into a steadily climbing riff and then more raging sleaze. Spoken sections interplay with sung lyrics. Lots of passion and a bucket load of fun. Getting punky, past the mid-section, when the riffs grow more intense, joined by background G’N’R’-esque spoken and sung vocals. Ending on the well established ‘in and out’ echo of feedback riffs.
Nervous – Low down bass intro and straight into a very heavy punk sound. Quite Offspring-esque. Fast-paced, chasing rhythms mingle with crazed vocals and it just works. Moving into a harmonic groove, getting more vocally incensed. Stop-start end, fitting it well, with breaking glass closing.
I’d Rather Fight Than Switch – Right into an ominously toned riff and drum intro, with the drums more prominent now. Once again, that Offspring-esque call and response arrangement enters. Continuing the fast pace, all the way, echoing the sound, vocals gathering pace and passion, it’s rebellious, real and downright sexy. Vibrato and whammy section adding to the intensity, fading out on that same sinister tone and returning, for one final whammy section, closing.
Assault And Battery – Screeching groove riff opening, onto a building rhythm. Heaviness permeating. More call and response stuff within. Purposeful repetition sings through this, working well. Gorgeous riff solo, just before the end and the aggression never lets up.
Stranger Things – Hard and heavy impacting riff intro! Injecting instant meaning. Echoing vocals, narrating a sinister tale. Very much a collective effort. Over in a heartbeat.
Not Just A Boy’s Club – Immediate intro! Siren-like riffs interact with rapid paced vocals, gathering speed and groove. Very melodic, in riffage terms. Plenty of screech and slide. Strong anthemic collective shout, before the final scream.
If You Don’t Skate Now You Never Did – Mystery intro, with vague sound effects, then segueing into another Offspring-esque punk refrain. Full-scale shouts throw collective energised passion into the ring, as some delicious riffage follows. Getting into the groove, as it ends, on an animalistic growl.
Reason To Know – Banging rapid drum intro and right into another similarly punk metal fun refrain. Pure energy, demanding space. Such overt expression of pleasure. It steers into the closing riff skid, with equal enthusiasm.
Skate Riot -Beautiful flamenco-esque acoustic riffs intro. Fading into a pure space of meaning. Just a clean instrumental, the drumming reveals itself later, as it moves, deeper into the groove. A gorgeous bit of vibrato claims its space, before yielding, to a growing melody. The rhythm then gathers, returning to the power of punk and vocals return. Verging on a medley, with notably accurate vocal pitch. Full feeling’s poured into this, as it grooves, melodically along. Building the tension, till the clear-cut closing vocals and screeching riff finale.
Overall – The full force of Exodus, with the energy and drive of The Offspring, ‘Slashers’ is a fantastically fun slice of heavy metal punk, for maximum engagement, without concentrated effort.
10/10 **********
For fans of The Offspring, FORE, American Terror, Exodus, C.S.O.D., Mind Patrol, G’N’R’, Duff McKagan’s Loaded.
Introducing Skender Beck’s new debut rock video, ‘Gone’.
Gone – Unexpectedly poignant intro. Very emotional and real, probably more alt rock than anything else, but with a steady groove. Well produced and performed, with a laid-back delivery. Lyrically, bluesy, yet not melodically. A track requiring a certain mood, with a fairly downbeat flavour. Vocally, the chops are there, even if the tone’s quite morose. It’s a little low keyed, throughout, which although certainly heartfelt, tends to tip the scales towards mood-lowering. A little bit of mystery and colour might enhance this track, somewhat, given the maudlin quality of the visuals. Main issue – needs a little less pain and the accompaniments brought up. The overwrought lyrical emphasis tends to cause the accompaniments to fade into the background. What it needs is a hit/hook, at the start and an injection of mystique, to lessen the mood overwhelm. Musically proficient, with decent audio values, but generally, the sound and lyrical themes are quite dulling to the senses. A lighter background would also help redeem it, slightly. A capable, but overly emotional track, likely to benefit from lifting the melody and dialling back on the melancholia.
Rock Queen Reviews 
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