‘The Worst Is Yet To Come’ is the third album, brought to you by Slovenian metal band, Lintver. Founded 2004, plagued by the usual line-up changes, for the first 3 years, their demo and 2 previous albums received a warm response and they’ve since toured Slovenia and parts of Italy.
Inspired by bands such as Coroner, Atheist, Death, Dark Angel and Xentrix, those sounds are audible in their material.
Final Price – Instant metal attack! Speed rhythms echoing Metallica’s ‘Kill ‘Em All’ era. Uncompromising lyrical menace. Delivered in a classic thrash style. No mercy, with those insistent riffs and raging vocals. Fading, with pure precision.
My Utopia – Tumbling drum rolls open. Similar frantic pace. Such ease of execution. Now, throwing in some well-placed anthemic backing vocals. Sustaining the blood-soaked vocals. Intro’ing a briefly slower pace, at the bridge, featuring a beautifully strategically vibrato section. Back into a full on pace, attacked with absolute precision and passion. Balancing that anthemic streak, with melody and enraged thrash, effortlessly. Running with that rhythm, till the end.
Spectral Dimensions – Booming drums intro. Once more, into the flow, with a very Maiden-esque rhythmic refrain. Rolling on, with natural ease. Again, delivering bloody vocals, now with a very Pantera-esque riff section, 3/4 in. The rhythms really are central, here. Fading out, with a fluid riff wobble.
Winds Of Decimation – Faster pace, gathering, immediately, with no time to lose. Great chasing pace. More fiery vocals. Stacked with merciless drum rolls. Fitting lyrics, building it up, into an evocative atmosphere. Gaining on the bridge, with a very Vai-esque virtuoso riff solo, in a ‘Flight Of The Bumblebee’ style. Intensifying that gory, but still audible vocal style. More inventive riffage, with plenty of whammy, vibrato and furious speed. Anthemic backing vocals fit right into the incensed shouts, at the end.
The Worst Is Yet To Come – Banging intro. A deeper sound to the drums. Carefully paced, with that riff magic hitting, earlier. A well controlled staccato rhythm, 1/4 in. Blood-spattered vocal attacks, again. Frenetic rhythms rule. Effective stop-start section, 3/4 in. Melody overtaking. Vocals always gore-soaked. Riffs balancing it out, throwing in a brief wah section, before the end. Drum hits closing.
Cult – A tumbling drum descent opens. As alive as before. Thoughtfully structured. Now, the riffs have a field day, combining lightning fast melodies with strategically positioned whammy, vibrato and tremolo. Just slowing it down, marginally, towards the bridge, with briefly darker tones, before lifting them, again. Controlling those rhythms, effortlessly, as the guitar sings and screams, with a final tremolo wave.
Demoniac – Plucky Baroque intro tones, finished with a fluid wave of riff echo. Then throwing out full on vocal aggression. Really emphasising that bloodied vocal style, tempered with such divine riffage. Drum rolls completing the picture. It’s just a really traditional thrash sound, with such driven melodies. Menacing lyrics end, with another well-positioned fluid riff.
Malevolent Infestation – Banging opening. Straight back into gloss sheened riffage, employing the wah much earlier. More tumbling, tight drum rolls. Letting loose, in just the right places. Once more, those Pantera signatures are clear. Nailing the methods, so admirably. All old school thrash fans’ll get on with this. Riffs very much central, displaying so much commendable skill and passion. Just alternating the rhythms, 3/4 in, taking you with it. Accessible and notable melodic riff refrain. Very Testament-esque, echoing their ‘Days Of Darkness’ era.
The Faceless – Bang! Singular bomb-like drum drops open. Instantly affecting. Very intensely gore-streaked vocals. Enthusiasm audibly palpable. A fabulous guitar break, at the bridge. Melody and murderous lyrics unite. Again, it’s got that gloriously traditional feel, fading out, at the end.
Trespasser – Dropping those drum hits right into the fray, with no hesitation. An impressively complex, yet still accessible arrangement. Speeding rhythms characterise it, as it races, lividly on. Those beautifully performed riffs sing and scream, with sincerity, as before. Such tight-knit cohesion. Tumbling drums sustain the tension. Vocals increasingly enraged. Drums picking up the pace, to a speeding rattle. Riffage very much central, meeting the vocal intensity. Racing on, with audible riff peaks, intensifying, till the classic Testament-esque finale.
Overall – Impressively precise and impassioned, from start to finish, with old school flair featured, throughout, ‘TWIYTC’ is amongst the most accomplished sounds you’ll hear. Its thrash signatures blend, perfectly, with the melodies and delicious riff solos. All delivered in such a seasoned way. There’s literally nothing to fault and everything to love. Buy it now.
10/10 **********
For fans of Pantera, Testament, Slayer, Exodus, Metallica, Megadeth, Anthrax.
This heavy metal quartet have been on the scene for 5 years and hail from Wrexham, North Wales. ‘Silentmen’ is their self-titled debut album, demonstrating their love of metal and their multiple, multi-sub-genre inspirations. Silentmen have already acquired a strong, loyal following. Ones to watch.
My World – Seamless intro, with an intriguing vocal sound. A vaguely Bowie-esque hint. Strong on the melody. Good rhythmic patterns. Typically modern speed metal. Great closing scream). All in all, an enjoyable and worthwhile listen.
Screaming Sirens – Air raid sirens and gun shots open, with falling buildings and social panic surrounding. Into a fluid riff. Smooth vocal melodies. Anthemic backing sections. Classic war lyrics, featuring strong warrior sounds. Catchy chorus. Clear and cohesive. Those battle chants add to the power. Just a traditional metal sound, ending on more falling debris, with the chants fading out, into the background.
Back To Life – Faster pace, opening. A typical speed metal refrain. Consistent lyrical clarity. Some fabulous riff melodies here, doubling up on the intensity, like machine gun fire). Those riffs definitely lead, right up to the end). That’s got favourite written all over it.
Yellow Eyes – A shadowed intro, poignant, but powerful. Cymbal hits pointing out the line endings, with just a touch of emphasis. Rolling on, smoothly, into the following rhythm. The melody drives it on, again. Lyrical messages clearly conveyed. Once more, the melody’s king. Loving those gorgeous riffs. Just a beautifully smooth, seamless melody. Ending on an understated cymbal hit.
Closed Chapter – Drum hits open, into a gorgeously velvet refrain. Relaxing straight into it. Beautifully harmonised vocals. Filled with feeling. So palpable, pouring emotion. One of those you just sink into, with pure relief. Another hit, utilising the wah, in exactly the right manner, in exactly the right place, before the smoothly delivered riff fade-out.
Redemption – Rolling right in, with an explosive, fiery riff refrain. Drums supporting. Vocal structures fitting right in. Innately performed rhythms. Picking up the speed, from the bridge. Racing on, palpably, like a virtual reality car chase. Pitch perfect power screams, at the end. Just flawless.
Lucky One – Powerful, ripping intro. Drums following. Straight into that metallic vibe, again. So seamlessly smooth. The melody’s right at the heart of the song, as before. Naturally catchy, drums upping the intensity, in all the right places. Rolling on, with rhythmic perfection.
Shattered Pictures – Deep, steel string opening, echoing the style of many of Whitesnake’s more poignant ballads. Well controlled wah. Drum hits punctuating. Thunderous sounds following. Such an easy flow, just carrying you away. Still puncturing the air, with those perfected power screams. Melodic heaven. So contagious, from the 3/4 point. Impossible not to be consumed by it. Just a glorious sound. Steel strings returning, for the smoothly executed finale.
Overall – Truly beautiful and powerfully melodic, ‘Silentmen’ is a golden find, with natural, born for this sound vibes. Like an open embrace, that feels like home, with reassuring seamless consistency, throughout. Sink into its depths, as its heartfelt melodies consume you.
10/10 **********
For fans of Whitesnake, White Wizzard, Powervice, Cauldron, Kalmah.
Santa Rosa blues rock band, The Fizz Fuzz formed in the Southern California desert, in autumn 2017. They’re a duo, comprising Dandy Brown and Dawn Brown. Vocalist/guitarist Dawn also works as a multi-media artist and photographer. Multi-instrumentalist, composer, producer, singer Dandy, formerly of Hermano, Orquesta Del Desierto, John Garcia, Alice Tambourine Lover, Yawning Sons has also released some solo productions.
The 2020 debut album, ‘Palmyra’ features contributions from a handful of other artists, including: David Angstrom (Hermano/Luna Sol), Steve Earle (Afghan Whigs), Mike Callahan (Hermano/Earshot), Alice Albertazzi and Gianfranco Romanelli (Alice Tambourine Lover) and Mark Engel (Orquesta Del Desierto).
Current release, ‘Deserts, Mountains, Oceans’ is due for release this spring. Also featuring Steve Earle and Gabriele Carta, ‘D,M,O’ was produced at Oxygen Studios (Verzuolo, IT) and Slush Fund, Atlanta, Ga). A UK promo tour will take place, in March 2024.
Statues – Strong blues riff intro! Good clear sound. Decent beat, with a clear bass line. There’s an easy rhythm and generally, upbeat tones. A bit of a busy, cacophonous arrangement. Slightly Beatles-esque, in sound and structure. Smooth fade-out. A fair intro track, well produced.
Deaf & Dumb – Slide riffs open, bringing that plausible blues atmosphere in, straight away. Very Chrissie Hynes-esque vocals! A consistent undertone, sustaining that blues twang. Liking that pronounced whammy and wobble section)! Riffs even more acute, towards the end, offset by those final sensual breaths.
Disbelief – Very tasty steel string intro. Very pure and compressed, featuring beautiful echo. A very natural duet, with blues at its heart. It rolls, rhythmically on. Uplifting atmospherics, bouncing along, so enjoyably. It just rocks, in such a laid-back, yet vibrant way. Gorgeous wah section, 3/4 in, adding a real peak to the sound. Loving the upbeat melodies and that really bluesy feel).
I Suppose – Another gathered steel string riff opening, hitting shared vocal heights, instantly. Building the tension, skilfully and artfully. Straight off, that mood’s contagious and so palpable. The melody really works, taking you with it, just coasting along, so comfortably. Uplifting tones, throughout. It’s all just complete cohesion and contagion. Great build-up to the outro.
Free For Sorry – Opening on an in and out reverb echo, with another co-ordinated duet and a more contemplative thread. It’s a more poignant sound, with a little more repetitive monotone, but it’s still light, in its own way. Vaguely haunting vocal close.
Craters – Good intro. Straight into the vibe. Again, it’s got that laid-back, oceanic sense. Generally, very evocative of beaches and sea breezes, on summer days. The beat’s effective enough to carry it. This track just sort of bobs along. A little repetitive, but it’s a very pleasant listen.
Mad Jimmy – Gentle, alt rock riffs open, with just a touch of wobble, leading right up to the beat. Those Pretenders-esque vocals return. A softer, but cohesively synced number. Employing a touch more riff wobble, which works well. Again, it glides along, with that coastal vibe. Very melodic and very visually evocative.
Billion – An oration opens, onto some very colourful riff tones, with a perfectly pinched texture. A little resonant of The Manic Street Preachers and The Stereophonics, with a very slight Radiohead echo. The lyrics work well for this track. Sustaining that well-placed pinch to the riffs. It’s a sound that bounces along, while reflecting a melancholy mood. The vocals and accompaniments here just ooze, fluidly and emphatically, bleeding into each other. Another strongly believable refrain. Echoing back into the muffled oration, at the end, with a gliding riff.
Overall – A clear upward departure from previous material, ‘Deserts, Mountains, Oceans’ is undoubtedly, The Fizz Fuzz’s best work yet. Plenty more bite, a whole new energy and melody, much more powerfully emphasised. The comfort level and ease of flow is markedly more noticeable and it’s generally, livelier and catchier. Whatever motivation triggered this upswing in their sound, it works. ‘D,M,O’ is definitely stronger than all past productions and it’s great to hear the band’s full potential expressed, so enjoyably and enthusiastically.
9/10 *********
For fans of The Stereophonics, The Pretenders, The Manic Street Preachers, Radiohead, Supergrass, Superseed, The Superphone, The Beatles.
Inspired by traditional bands such as Death, Slayer, The Haunted, Kreator and Morbid Angel, French thrash/death metal band, My Own Fear was founded in 2011.
A track from their demo of that same year was chosen for ‘Revelation Underground 15’ compilation, via The Pavillon 666 Media. 3 years later, the same thing happened, for another French metal compilation, titled ‘Le Triomphe Noir’ – this time, the chosen track, ‘It Was Right, It Was Good, It Was Gore’ was from their debut EP, ‘Rise’. That success secured a rolling 30 date French tour, including numerous prestigious festivals. These included: Metal VS Core, Chaulnes Metal Fest, Winter Rising Fest and Gisors Metal Fest, where they performed alongside fellow French metal bands, Aggressor, Mercyless, The Arrs, Kause4Konflict, Witches, Inhumate, The Cleaner and Primal Age.
Their debut album, ‘Violence Made History’ arrived in 2020, following a couple of years of the usual turmoil of line-up changes, etc and COVID.
A year later, the band signed a distribution and online release deal with French label, Music Records.
‘VMH’ was produced by Enzo Biasizzo, at Elevation Studio. The cover art was created by Mythrid Art.
Featuring legendary French thrash metal band, Witches, on ‘Salem’, ‘VMH’ has garnered much positive media acclaim, since its release.
Once Upon A Fall – Sinister, shadowy intro. Very gothic, hauntingly suggestive. A pure, brief instrumental, shrouded in darkness.
6.1.8. – Heavy treads open. Hitting a faster speed. Growly death vocals fit the black mood. A very blackened track. Punctuated by glassy percussion. Just a very dark sound, with approaching menace continuously present. Good tremolo section, 3/4 in, adding a sharper tang. Otherwise, a very bestial track, to the end.
Dux Bellorum – Powerful, dramatic spoken word intro’s, before the siege of blackness overtakes. All accompaniments well aligned. Incorporating some slightly sharper fiery riffage, here and there. The monster roars rule. Liking that strikingly more melodic riff, 3/4 in, adding a well executed paradiddle. Closing on a very battle-esque chant, with the drums right behind it.
Hellfire Club – Creepy piano tones open, onto a suitable blaze of riffs. More death vocals. Very intensely palpable physicality. Growing momentarily lighter, before returning to the darker, heavier intensity. Roaring on, with another melodic riff hit, at the 3/4 point, again, in a now established pattern. Ending on another growl.
Torquemada – Soft, lullaby-esque tones intro, followed by a thrash refrain. Then back into another death roar vocal. Segueing into a groove-based structure, towards the bridge. Drums intensifying, there. Fading into gentle quiescence and climbing up to finer heights, before dropping back down to deeper depths, as it roars to an end.
Ghosts On The Warpath – Shrill riff tone laying down the groove, as the drums join in and the monster death roars overtake, once more. This is just a bit more melodic and thrashy, in places. Roaring on, relentlessly. Good strong accompaniments, neatly arranged. Alternating the intensity. Quietening, as it reaches the 3/4 mark, again. Then speeding up, right to the end.
Salem (Featuring Sibylle Colin-Tocquaine and Lien) – Heavy doom riffs open. Again, returning to monster vocals and a more refined riff section. Peppering percussive sounds through the track, before slowing down, to a more relaxed groove. That looseness soon yields to tighter accompaniments. Returning to that staccato rhythm. Evolving into a full-blooded roar, finishing with a fluid echo.
1349 – Era Of The Rats Part 1 – Creaking doors and a cold breeze open, with gentle, considered riffs following. Then warrior drum rolls lead in to a fuller refrain. Soon reaching an end.
Devoured By Pestilence – Era Of The Rats Part 2 – A singular, powerful drum hit intro’s. Then right back into another roaring death growl. Rhythmic drumming characterises it. Speeding it up, consistently. Just a busy track, with the riffage the stand-out factor, as ever. Monster roars fade it out.
Empire Of The Rats – Era Of The Rats Part 3 – Solid, funereal darkness opens. Just restraining the next section, briefly, before releasing it. Rhythms alternating, as the vocals briefly become robotic. The beast roars continue, from there. A well handled riff scale follows, injecting more melody. A continuous roar growls, right to the end.
Overall – A very competently created and executed album, ‘Violence Made History’ presents very much as expected. Produced to a good standard, not much to fault about it, other than the lack of diversity and originality. Whilst the riffage is generally the stand-out factor, it still fails to conjure any easily identifiable USP’s. So more focus needed on individuality. Otherwise, a very technically proficient production.
Vancouver, Canada-based hard rock/heavy metal band, Hunting Giants announce their new video, for the track ‘Vanguard’, from their recent album, ‘Mythos’.
Unusually, ‘Vanguard’ is actually a fantasy based love song. Written about a frontline soldier, engaged in the brutality of the battlefield, the song conveys the soldier’s final thoughts of his loved one and his wish to be with her, eternally, as he realises his fate’s approaching. A patently poignantly visceral track, ‘Vanguard’ can be accessed on YouTube.
‘Mythos’ is an album created from years of hard work, producing and performing, both prior to and during the COVID lockdown. Stacked with vividly powerful narratives, designed to evoke a spell-binding experience, transporting you to other realms.
Soundalike comparisons are: A.I.C., I Mother Earth, Soundgarden, Tool and Audioslave.
‘Mythos’ is available, on physical and digital formats.
The sound delivered by HG could be seen as an introspective portal, on multi-sensory levels.
Formed in 2017, HG have consistently built on an already ambitiously driven sound and concept, via their aspiring collective visions.
‘Mythos’ follows 2018’s ‘Skyward Eyes’ EP.
HG is: Corey Wharton – bass, Stephen Atkey – vocals, Bradley Trivett – guitar and photo credit, Daniel Beavington – drums. Featuring Kirby J. Kaye, performing ravishing riffs. Plus a special feature of a glimpse of a gorgeous, if uncredited golden labrador, for fellow dog lovers).
Vanguard – I was about to assume that this video being shot from home, rather than on an actual battlefield setting, (obviously as in a mock battle/reconstruction), would make it somehow, much less powerful than the relevant environment would have been, but having heard those vocals, they’re still very much ‘frontline’, in the performative/vocal sense and their power certainly does pull you in and sustain your focus. Whilst no civilian scenario could ever replay a military one, you definitely feel the lyrics and the surrounding accompaniments, keenly. Again, as much as any civilian realistically can. It’s a strong track, though. Very Avenged Sevenfold-esque! Good physical actions, too, giving them all he’s got. You do hear that doom-style bass line and a bit of riff crunch, too. Cohesively seamless flow. Great sound quality. A very hooky track and well worth a listen.
9/10 *********
For fans of Avenged Sevenfold, Soundgarden, A.I.C. Damn Yankees, Tenacious D, KLOGR.
Courtesy of Pharaoh Recording Studios, ‘Vanishing Point’ is the debut album from Connecticut, US heavy metal band, Unknown.
Founded 2020, this heavy quartet bring you 9 tracks of traditional and modern thrash, in the style of such classic bands as Jag Panzer, Manilla Road, Iron Maiden, Razor and numerous others.
Unknown is: Matt Fisher (vocals), Bob Beyer (guitars), Aamir Sayed (guitar/bass) and Jordan Rippe (drums).
Prelude – Smooth melodic riff intro. Strong anthemic style. Effective instrumental. Brief, but the music says all it needs to.
The Bastard King – Dark echoes open. Then unleashing a metal storm. Again, very melodic. Morphing into death style vocals, alongside the leads. There’s grit and obvious passion. Drums rolling on, aptly, as the vocal extremity closes.
Vanishing Point – A tasty steel string intro leads into a much more powerful refrain. Well handled flat tones. Class metal riffage. Great rhythm. Accessible hooks. It’s that riff rhythm that carries it along. Drum beats outline the bridge, before it moves into a darker, suggestive quiescence, prior to speeding and lifting it up, again. Faster drum roll rhythms, towards the end, finishing off with a delicious fluid riff.
Mission No. 84 – Banging opening. Straight into the feel. This is very Maiden-esque. Intensifying it, from there. More catchy hooks in the chorus. Here, the vocals really pick up, gathering strength. Slight flat riff tone, around the bridge, but it’s generally precise. Building the tension, with that closing drum roll, evocatively delivered.
Fury – Great sliding, searing riff opening. Drums a bit tighter here. Death growls follow. Melody overtakes, soon after. It’s a good stylistic balance. Well displayed scales. Riffage climbing higher. Drums evoking burning fire. Well impressive final power scream, hitting those ascending notes with peak precision.
The Prophet’s Hair – Curious watery sound effects intro. Into a gentler, but still poignant acoustic guitar section, equally matched by softer vocals. Another brief stream-like sound, then into a full on metal refrain. Smooth segue. A little more physical. Gentle vocals alternate with heavier tones. It’s that rising, soaring riff connecting bridge that stands out here. Again, building it up, percussively, gaining speed, with a smooth flowing riff section. Utilising a touch of reverb, with a plane, flying into the distance. Soft vocals returning, with acoustic tones, at the end.
Where Men Find Glory – Blasting out the intro, with no hesitation. One or two awkward, but deftly handled riff tones, touching on tremolo. Very decent vocals. Plenty of melody. Colourful riffage. Very telling lyrics. Audible passion and conviction. Lots of rhythmic and melodic focus. Again, it climbs up those scales well. Vocals always clear. It stands up well, with an easily evocative atmosphere. Good definitive drum roll, closing.
Road Of Light – Sharp, fragile riff tones open, with surrounding fluidity. Shimmering cymbal hits add a beautiful flourish. A more contemplative track. Gorgeous, screaming riffage you could happily drown in). Drums gathering pace. Such touching lyrics. Very emotive. Just holding back the accompaniments, slightly, before the reflective end.
Overall – A beautifully delivered album, featuring equally beautiful sentiment and profundity, ‘Vanishing Point’ conveys its messages well. Impossible not to be touched by it. Flowing fluidly, throughout, showcasing the interplay of light and dark, heavy and soft, it’s a metallic offering, with comforting threads sown throughout.
9/10 *********
For fans of March In Arms, Soldierfield, Just Before Dawn.
Powerfully titled Termination Force is a melodic thrash/power metal band, featuring sci-fi thematics, inspired by traditional 80’s/90’s metal, mostly from America and Germany. Founded in 2021, TF is composed of current members of Toledo Steel and Desolator. Based in Southampton, UK, they now present their newly released EP, ‘Netherworld’.
After The Fall – A low, penetrating rumbling intro’s, leading into a fabulous power scream. Riffs fitting right in. A straight out classic metal refrain. An intriguingly flexible vocal edge. A sound adaptable to rock opera, with the surrounding accompaniments to match. Very dramatic theatricality. Short, but effective.
Termination Force – Low bass line opening, this time, accompanied by a spacey, sci-fi vocal and an evil laugh. Then into a full on power metal section. Impressively held vocal tone. Rumbling on, into a traditional speed metal sound. A very natural inclination to this genre’s clearly evident. Lots of melody. As much light as darkness. Drums injecting gathering tension, towards the end, then another skilfully held vocal note. Effortless.
Target Locked – Drum hits intro. Into a rhythmic structure, with a very apt siren sound. Continuing with that old school speed/power refrain. Very decent group anthems slot right into this arrangement. Brilliantly held vocal tones, again. Everything here just fits, so cohesively, in perfect sync. More sirens and a rushing riff refrain. Climbing up to that vocal finale. Faultless.
Heart Racer – Active drum fills open. Riffs joining in, with quality melodies. Catchy chorus. Showcasing a particular skill for those built-up vocal scales. Notably melodic and just a very intuitively channelled sound. Riffs exciting and adding plenty of screech. Definitely a contagious chorus). Great closing echo, steering into the skid).
Netherworld – Booming drum beats and slightly darker bass line intro. Rhythms hit, right from the start. Bringing it up and down, with consummate ease and panache. Edgy vocals. Conveying the themes, enthusiastically and engagingly. Effectively utilising contrast between backing anthems and lead vocals. Lowering the tone, 3/4 in, in a very Maiden-esque way. Again, holding those tones so naturally and capably, right to the end, with that final definitive note).
Overall – An easy one to big up, ‘Netherworld’ may well sound derivative, to some and perhaps even contrived, but it doesn’t matter, regardless. Cos it hits exactly the right tone, in every respect, while delivering all the right ingredients, making for an enjoyably escapist, uplifting listen, well worth returning to, repeatedly. Say what you like about cliches, but ‘Netherworld’ has hooks galore and ultimately, proves TF know how to rock.
10/10 **********
For fans of Queensryche, Iron Maiden, Powervice, Enforcer, Voltax, H.O.D., R.A.M.
Presenting the latest thrash/speed metal assault, ‘The Purpose Is Cruelty’, from Kansas City band, Hellevate. A potent cocktail of East Coast and Bay Area thrash, it’s out now.
Fusing elements of power, thrash and melodic extremity, Hellevate borrow inspirations from the entire range of metal, in order to create their signature heavy sound.
Founded in the later 2000’s, by guitarist Dan Whitmer, the current line-up, comprising Zack Burke, Joshua Cole, RJ Whitmer and Robert Browne is it’s best yet.
Releasing a string of productions, throughout the years since formation, ‘TPIC’ is their 6th release, a 5 track EP, packing quite a punch.
Amongst the roster of high-profile bands with whom they’ve performed are: Exodus, Kreator, Accept, Overkill, Destruction, Venom Inc and Danzig.
Growing ever stronger and more metallically refined, Hellevate aspire to ever greater metallic heights.
The Purpose Is Cruelty – A gaping mouth yawns wide, with a gothic organ and narration accompanying. Very cinematic, fantasy themes yield to classic quality thrash metal. Typically extreme lyrics scream in your face. Speed riffs hit, like a freight train, just before the bridge. Drums joining in. Dark atmospherics convey disturbing scenes, as group vocals ramp up the rage. Drums suddenly firing it up, at the end. That’s some powerful impression.
Dagon – Precise definition in those opening drum hits. Stark, cold, metallic darkness. Sustained, in those energised vocals. The anthemic energy works well. That group collective fuses melody with extreme heaviness. Throwing in some death growls, upping the riff heaviness. Becoming quite Slayer and Exodus-esque and more so, with every beat. A raging, speeding bullet. The choruses add more edge. Screaming pure malevolent rage, right up to the end.
Buried Under Mistakes – Razor sharp riffs intro! Laying down that slam heavy intent, without hesitation. Rapid rate drumming follows. The collective vocal strength’s really impacting, adding so much more to that acute extremity. A barrelling track, firing live ammo, right, left and centre. No mercy from the finely sharpened metal edges. Just a relentless thrash attack, from start to end.
Die Or Be Killed – A hard hit of thrash fire, from the off. Dizzying speed, all the way. Great backing vocals emphasising that heavy impact. A voice-over’s inserted in there, briefly, then drowned out, by the metal rage. Merciless thrash extremity reigns, again. Another attempted oration, while the hard-hitting vocal anthems overtake, once more. It’s just a furious, frenzied attack of all-out, raging steel. That Exodus-esque style forms the hardened edge of what’s already a high-impact assault. Spoken reports try to be heard, once again, as cutting-edge metal drowns them out. Ending with a curious section of a patriotic national anthem.
No Further Action Is Required – A panicked cohort of post-incident cacophony intro’s. A robotic voice follows, then into a full on metal assault. Melody still inserts itself into this looser, but no less aggressive refrain. Retaining lyrical clarity. Constantly pumping out that adrenaline fuelled slicing thrash. Speeding up, some more, from the bridge, in a dexterous display of riffage, to kill. Just high-level speeding rage. That fiery, Slayer-esque extremity gets up close and personal. Screaming it out, with unrestrained intent. Ending on those very same murderous tones.
Overall – Warning! Not for the faint-hearted! A riot of stormtrooping, terror-inducing wrath, from Hell, itself. ‘The Purpose Is Cruelty’ certainly embodies that convincing title. It’s extreme, to the extreme. Showcasing merciless rounds of fearsomely fast fire, right up to the last, this is very much an album to reserve, for the most soul-churning rage. Hitting with a venomous force, ‘TPIC’ is a modern combo of Slayer/Exodus’s most vicious, violent productions.
10/10 **********
For fans of Slayer, Exodus, Warpath, Testament, Anthrax.
A truly unique and inventive genre, Trahir bring you shamanic heavy psych rock, via their debut album, ‘Whose Hearts Petrified’. Presenting that active energy, live, this Prague-based quartet are heavily influenced by Black Sabbath, evolving those roots into a modern, otherworldly sound, full of magic, both light and dark.
Having played support for numerous international bands, including Candlemass, Trahir have also toured Bohemia summer festivals and German clubs. They’ll be touring, to promote their album, this year.
LichkingXWitchqueen – Crashing drums intro. Right into a perfect galloping pace. Notably edgy vocals, convincingly delivered, fitting the themes well. Barely perceptible light percussion adds a fresh extra touch. This whole sound’s infused with traditional conviction and flair. Riffs matching that edgy vibration. Powerful end, evoking imagery well.
Blakulla – Laying down an unmistakably Sabbath-esque intro, both doom-soaked and enthralling. Very Ozzy-esque, with an added Celtic tone. Palpable power in the collective sound, as if summoning an ancestral spirit. Very catchy vocal contagion, to an almost powerless point. Suddenly dipping down, to deeper depths, at the bridge. Riffs lifting it up, from there, enhanced by that wah wizardry. Just a gloriously upbeat tone, taking you with it, so rhythmically. The perfect melodic blend. Ending on a finely tuned cymbal hit.
Falconer – Opening with a deep, dark solemnity, both meditative and evocative. Gorgeous shrill soprano recorder and piccolo, really enhancing that ritualistic quality. A brief, but very affecting pure instrumental, in the vein of a shamanic journey. Very inviting.
Knight’s Prayer – Instant Sabbath-esque power screaming through that intro, reflecting the Ozzy, Dio and Tony Martin eras. Sustaining that scintillating sharpness, especially resonant in the riffs. This is something truly transporting and magical. Gliding along beautifully. Tonal strength emanates from its very core. There’s a glaring special quality to this whole sound and structure. It’s remarkable, on every level. The melody’s addictive and shines with an extraordinary spirit.
Mother Nibiru I – Slower, contemplative opening. A classic, yet intriguing basis. Clear ritualistic lyrical patterns. A lighter tone, thoughtfully conveyed. Very reflective style. Mesmeric riffage. Carefully structured, leaving lingering mystery. Its power’s in the hypnotic repetition. Adding to the mix, with those caw-like sound effects, towards the end. Resonant of ‘Planet Caravan’, but with a very original flourish.
Rapture – Back to the heavy, doom emphasis. Again, very Ozzy era Sabbath-esque. A very real power to the entire delivery. Speeding up, 1/4 in, enhancing the vocal strength, as before. Alternating rhythms, sensually. Adding a funk groove, at the bridge. Extending it out, into a wah-filled height. It’s the rhythmic structures and alternations that offset the rest so well. Down to the depths again, at the end. Always, those vocals gleam, with powerful intent.
Two Sisters – Opening with background cacophony, quickly followed by traditional, folky narratives. So much atmosphere. A Gypsy-like quality. Very brief, but still enchanting.
The Ruin – A mid-paced rhythm starts it off, overtaken by a metallic riff and more of those legendary tale-narrating lyrics. A real strength sings right through it. Here, the drums are slightly more pronounced, building the power higher, towards the bridge, in union with the riffage. Such an upbeat, driven sound, stacked with fabulous twiddly paradiddles. Vocals never losing their power or enchantment. Very visually evocative. You can almost feel the camp fires burning and warming the air and the crackling of twigs, through the forest, in the dead of night. Yet you still feel the intensifying vocal armour, to the end.
Mother Nibiru II – Echoes intro, with spooky sound effects evoking a dark vortex, concealing lurking menace. Heavy, tribal drums beat their way into the subconscious. Moving into another trance-like rhythm. Throwing in more of those corvid-like calls. Floaty, yet still strongly controlled riffs. Adding in a screaming release, around the bridge, fading into the background, in a hypnotic echo. Continuing with a mesmeric arrangement, yielding to the natural world, yet blending in with it, till the end.
Amra – Darker, acoustic tones open. Flamenco style riffs yield to a full electric sound, with a tightly controlled rhythm, gradually loosening, but without losing any of its power. Tribal warrior chants advance. Huge power and terror in those vocals. Massively atmospheric. Riffs so finely tuned and conveyed. Building power in the rhythmic melody, fading it out.
Breaking The Spell – Beautiful, mediaeval, Baroque guitar tones open, with haunting piccolo/soprano tones accompanying. That gorgeous echo conveys instant forest-like backdrops. Such powerful, intriguing mystique. A pure instrumental, closing the album.
Overall – Impossible to convey with words, how powerfully hypnotic and enchanting ‘Whose Hearts Petrified’ is. It’s an album unlike any other, transporting you to other realms, in the most spell-binding ways. Ethereal, yet metallic, with olde worlde qualities and sharply current features, idyllically melded. Ultimately, entrancing, to such an inexplicable degree, that to coin a well-known cliche, it has to be heard to be believed. Rarely have I heard anything so befitting of its genre. Escapism, at its best.
10/10 **********
For fans of Mothers Of The Land, Illucia, WYKAN, Troll Teeth, Wax Mekanix, Knifesex, Emerald Shine, Feskarn, Dark Forest, Cybernetic Witch Cult, Nocturnalia, Witchkiss, The Wizard, Kalahari, Catalysis, Carved In Stone, Gwydion, Tales Of The Old, Telma, Quinn The Brain, Liholesie, ARDDUC.
Thrash metal monsters, Nomadus introduce their debut album, ‘Axis Primordial’, out now, on physical and online formats, on The Distortion Project. TDP are also acting as management and bookings agency, for Nomadus.
Following debut single, ‘Fraction’, ‘AP’ delivers anthemic catch and moshing action. Available in jewel case CD.
Promoting ‘AP’, the band have just completed their first UK tour, co-headlining with London thrash magnets, Secreum.
Last Words Of Wisdom – Strong intro. Groove audible, immediately. Heavy downpour of metal rain). Cymbal hits well placed. Very visceral vocals. At the more extreme end of aggression. Classic thrash arrangements, with enough melody to sustain energy and listenability. Heating it up, at the bridge, with a louder, more intense section, staying with that vibe. Gorgeous fretwork there, rising, in pitch, driving on, with thunderous sounds, till the end.
Apex Breath – Cymbal hits open, in searing style. Into a galloping pace. More raw vocals, death styled, amongst the thrash. Would be good to hear some more melodic vocals, but they’re certainly passionate. Even if they’re more Wolf-like than human, though that may be deliberate. Faster pace, from the mid-section. Into a fun rhythm, evoking more adventurous imagery and backing it up, with exhilarating riff melodies. Smooth, but bouncy fade-out.
Fraction – A single drum hit intro’s, followed by a brief oration, before the metal melody kicks in. Slightly more melodic vocals, in places. Quicker pace hitting, towards the bridge. There, a powerfully upbeat Celtic riff solo hits. Intensifying the percussive heaviness. Ending on a well-fitting drum roll.
Hadean – (Instrumental) – The classic thunder and rainstorm opens. Into muted sounds, creating evocative atmosphere. Moving, gently, into a softer riff refrain. Building it up, into a stronger amplified background and then, it’s over.
The Ultimate Fuse – Piercing riff intro. Powerful drumming supports it. Intensifying it, from there. Full scale thrash rage, emphasised by those monster vocals. Punctuated by stop-start sections and barrel loads of heavy drum rolls. Turning it up, some more, from the bridge. Riffs adding more melody, stretching into some delicious tones. Laying down sheets of steel. Great vortex-like fade-out.
Paradox (Nerveburn) – Thunderclaps from the sky get right in there, with zero hesitation! Mighty metal reigns. Thrillingly fast drum rhythms. Tantalisingly sharp slide riffs. Bringing it down, at the bridge, to a deeper drum section and steadier pace, before ascending higher, again. Lots of rhythmic alternation and experimentation. 3/4 in, the riffs go into overdrive, in a teasingly sensual way. Taking it to a clearly defined end.
Pounding Curse – Opening with plucky, teasing riff tones and rhythmic percussion. Exploding, into another full on thrash refrain. Sustaining some of the pluckiness, alongside thrash riffs. Extreme vocals hit, once more. Vaguely melodic, in parts. Good inventive structure. Classic thrash heat steams off it. Building the heaviness, throughout. Loving those cracking riff melodies and para-diddles, from the bridge. Just heaven). The beast rages on, with those blackened roars. Always building that fire higher. Injecting intrigue, 3/4 in, with a more complex riff structure, then back into full frontal thrash assault. Heavy, pounding rhythms drive it on, to the end, showcasing embodiment of the well justified title.
Scent Of Death – Very vivid, Van Halen-esque colourful riffs, opening. Taking it into a mighty warrior-esque refrain. Throwing down metallic hammers of iron. The roaring vocals enter. Pulling the curtain back, briefly, onto a sudden clearing and re-building the steel. Just a really expressive, heavy atmosphere. Alternating the rhythms and throwing in some varied riffage, once more, displaying those scales, in such a fun and exquisite manner. Melody suddenly brakes, into the final steer.
The Passage – Booming intro. Straight into another speeding, thunderous thrash sound. Drums forming the backdrop and the guiding rhythm. Riffs burn with metallic fire. Establishing a pattern of introducing a new rhythmic arrangement, towards the bridge. Taking it into more echoic territory. Riffs climbing higher, up that mountain of steel. Gathering in the heaviness and melody and constantly intensifying it, for the rest of the track. A beautifully cohesive and masterful finale.
Overall – A mountain of volcanic lava, with mighty steel reinforcements, ‘Axis Primordial’ is an outstanding album, featuring a level of craftsmanship, grit and determination expected from much more experienced bands. The fire and versatility showcased within it is spectacular, as is Nomadus’s command of rhythm, drive and complex arrangements. There’s melody, throughout, sitting perfectly, alongside the thrash. It’s just such an accomplished and extravagant album, earning the highest praise and the biggest fan base. Exquisite.
10/10 **********
For fans of Bull Riff Stampede, Venom, Testament, Grand Magus.
Rock Queen Reviews 
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