A big hit in Finland and considered one of its most intriguing unsigned bands, Nerve End combine prog, alt and melodic rock, to create their signature sound.
Heavily inspired by their passion for 60’s and 70’s prog rock, that sound is reflected in their sound, in a very vivid and intricate way.
Their current album, ‘The Cycle’ is a concept production, observing the themes of life cycles, complex cosmology and deep human trauma. Based, in part, on the related hypotheses of Roger Penrose, ‘TC’ attempts to elucidate these themes, musically.
Featuring guest contributions from Jorgen Munkeby (Shining, ex-Jaga Jazzist), saxophone and Aleksi Sihvonen (Medicated, ex-Norther), lead vocalist.
N.E. have vast experience of playing the Finnish rock and rock festival circuit, attracting crowds of 1,600 attendees.
They’ve performed alongside such high-profile bands as The Black Dahlia Murder, Battle Beast, Sonata Arctica, Omnium Gatherum, Stam1na, Mokoma and Stone.
The Cycle – Curious electronic intro. Building intriguing atmosphere. Growing the sound, with synths, before luckily breaking into a metallic refrain. Still very unusual sounds. Fairly gritty, but not necessarily metal vocal style. Continuing with a slightly downbeat melody. The prog/tech aspect’s clear, especially in the mid-paced rhythms. A bit mundane, melodically speaking.
Stormchaser – Similar synth-based, electronic opening. Again, it’s a bit downbeat and melancholy. Very tech, prog styles utilised, again. It’s well produced, but just doesn’t hit that spot. Some good riffage, certainly and the drums do heighten, to greater heaviness, as the song lifts, past the bridge. Stronger closing vocals. The grit works, but it’s incongruent with this instrumental sound.
The Great Escape – Glassy, fragility intro’s, in a quirky formation. Then into a heavier refrain, somewhat resonant of Prince’s more experimental eras. There’s just a very proggy emphasis, with more melancholic mood. A fair amount of instrumentation’s clearly gone into this. Especially in the sax sections. However, it’s missing that rocky spark. Blending multiple genres and quite artistically, but it just isn’t metallic enough.
From Mother To Son – Heavy drum drop intro, but then straight back into an 80’s synth pop echo and again, the mood dips, instantly, even with the vocal grit. The melody doesn’t match it. As capably proficient as it is, it just flits between genres, in a confusing and distinctly non-metallic manner. Much work’s needed on the musicality of the melody. Whilst there is a sudden heaviness hitting, 3/4 in, yet again, the melodic misery returns, till the keys ending.
Stalemate – Opening with a little more light, via an intricate riff, but soon reverting back to misery. Turning gothic, at the bridge. Ending suddenly, with a darkly circus-esque evocation. As perplexing as it is depressing.
Deep Blue – A more dramatic intro, detailing a pro chess match of the past, then segueing into a slightly lighter and more metallic emphasis. Abruptly, moving into extreme, blackened vocals, seeming completely at odds with the accompaniments and alternating with gentler vocals. Creating a confusing cacophony of complete incongruousness. The sudden stylistic flips, between opposing sounds are just bewildering. It’s one advantage is technical proficiency, but there’s just too much going on here, to be able to make head or tail of it.
The Big Sleep – Rapid drum roll intro, with a light-hearted riff melody, following. Sadly, it drops straight back into maudlin melodies. It does sustain some lighter features, but it’s still swimming in misery. Shame, as this band are obviously very talented, but the constant melancholic focus drags it down, as do the incomprehensible leaps, from one genre, to another. Again, the light dips its head above the water-line, occasionally, but it mainly remains swamped in sadness.
Absolution – Good! Now it’s getting metallic! Crunchy riffs intro and sonic vocals boom out. It still reverts to form, though, melodically. These gravelly vocals could be used, to better effect, with a much heavier accompaniment. Thankfully, this is the heaviest accompaniment yet, but the mood-lowering tones unfortunately, continue. No denying the mastery of those riffs, though. Still doesn’t compensate for the frequent morosity, however. They clearly do have the ability to lift things up, as showcased within the heightened sections of the song. It just needs re-direction.
Children Of The Sun – Ambient intro. Then segueing, into a heavier impact. Not for long, though. Once more, the mood-lowering moroseness overtakes. Grit remains, but these depressive tones are defeating the object. Well structured volume and tempo alternation, at the bridge. Back into morbid sounds, reflecting sheer hopelessness. Even the few brief tonal lifts can’t compensate for the rest. There may be hope within this, somewhere, struggling to escape, but it needs a much clearer outlet.
Ashes To Ashes – Compressed intro, moving into a heavier direction, but still stifled by suffocating, depressive gloom. A flurry of drum rolls, 1/4 in attempts to inject some life into it, but even with those sporadic lighter sections, it’s yet again, suppressed, by the presiding bleakness. Featuring a recognisable glimpse of modern alt rock, here and there, before sinking back down, into the mire, once again. Eerie, jarring sound effects add to the score of utter greyness. It does try to lift things, towards the end, but it’s just too late to salvage it, from the pit of despond.
Overall – Rarely have I heard such a remorselessly depressing album. Whilst it must be acknowledged that Nerve End are definitely talented and capable musicians and that’s not in question, the general effect of ‘The Cycle’ is one of unremitting gloom. It does feature a few sporadic heights, though all are sadly, very short-lived and insufficient to rescue it, from the despair and utter misery it generates. There is undoubtable musical ability here, but rather than wildly and inexplicably switching genres, it needs harnessing, re-directing and channelling, into a main, identifiable sound. Proficient, but intolerably mood-destroying.
4/10 ****
For fans of generic experimental synth rock/electronic/sonic alt rock.
Born from the ashes of Genoese bands, Nerve and 2Novembre, in 2014, Burn The Ocean combines both of those sounds, creating a hybrid of their contrasting styles (melo-death and stoner rock).
The debut album, ‘Come Clean’ arrived in 2015, via Sliptrick Records, followed by a couple of years of touring around Italy and the Balkans.
Attempting to nail their signature sound, BTO returned to the studio, producing 2 EP’s, ‘Zeit’ and ‘Perspective’, launched in 2018.
A period of line-up changes preceded a new album, in mid-2022, entitled ‘Modern Ruins’.
Engineered by BTO’s own Fabio Palombi, at Blackwave Studio and Giovanni Versari (Muse), ‘MR’ aims to connect popular rock with 90’s grunge alt rock.
Thematically, ‘MR’ covers a lot of ground, in relation to the socio-emotional fall-out from the realities of current life.
Almost Gone – Good clear melodic intro. Straight off, it’s very typically 90’s hard rock/sleaze rock, vocalised with plenty of grit. Contemplative, but still catchy tones. Very Loaded-esque. Enjoyably nostalgic, transporting you, rapidly, back to that golden era.
Precious Things – Immediate hit of grungy melody. Taking the mood down, into those deeper tones, before taking it straight back up, again. Plenty of delicious stoner sounds in here. Strong bass line, bridging. Straddling a perfect balance of gravelly grunge, stoner and alt rock, powered up, further, by the naturally intuitive drum rolls. A gloriously easy flow, right to the end).
Knives – Opening on a slightly more slanted note. A little duller, mood-wise, while still sustaining the catchy pace. Laid-back looseness characterises this. Casual, but still gritty. Very cohesive, with obvious chemistry. It just coasts along, effortlessly. Very evocative of 90’s rock, again. Drifting into Soundgarden-esque territory, in places. Ending on a classic stoner tone.
Confined – Drums kicking it off, into another great stoner/grunge vibe. Here, the bass is strong and present, from the start. That vocal gravel centralises the whole 90’s sound and mood. You can’t help but be swept away by it. It’s a really comfortable, chilled out ambience. Timing that sudden growing heaviness well, at the end.
Plastic Wisdom – Riffs intro, onto an enlivening scene. Again, everything meets, so cohesively. Vocals slightly more intense, without losing the accessible comfort zone. Well-placed harmonies, after the bridge. Sudden drumming intensification, fitting, so intuitively. Heavier vocal tones close, with a perfectly mood-matching riff steer.
The Botch – Solid riff and drum hit intro. Powering it right up, from the start. Returning to that delicious 90’s hard rock era, once more. Driving the point home, collectively. Well harmonised anthems. Faster rhythms and a whole lot of moody atmosphere. Sleazily scrumptious, till the end.
Morning Light – Acoustic tones open, with beautiful southern rock suggestion. So groove-laden, from the outset. This unplugged emphasis really showcases the band’s versatility. Firing it up, to full electrification, with huge vocal grit. The melodies are divine. Here’s a song you could just jump right into and climb inside. You’d never want to re-emerge, either. This is a sound blending the best of southern rock, bluesy sleaze, grunge and alt rock, you could happily hear forever. Sublime.
The Ruins – Kicking it off, with a lively drum roll, taking it right into an upbeat sound. Hugely catchy rhythms, it’s a band at the top of their game. Building it up, with those solid drum and riff grooves. Placing just a hint of a reverb breather, 3/4 in, then right back to that dizzying, infectious pace, closing. Solid car race-track territory.
In Solitude – Solid drum beats intro, riffs following. Truly brilliant vocal harmonies; very resonant of the likes of A.I.C., Damn Yankees and Faith No More. Every element gels, magically, with real melodic emphasis. A real collective vocal gem. Once more, BTO’s full range is revealed, impressively and more importantly, addictively.
Necessary Pain – An ominous riff tone opens, plunging down, into gothic darkness, before expertly lifting it right back up, to greater heights. Stylistically, blending classic and modern rock sounds, with consummate ease. A very upbeat number; well placed, as such. Firing it up and sustaining the fire, throughout. Neatly wrapped up, at the end.
Overall – ‘Modern Ruins’ delightfully exceeds expectations and then some. Hooking you right in and preventing escape, from its tantalising grasp. Revealing seductive command of all aspects of the sleaze rock, southern groove, stoner, grunge spectrum, with absolute precision perfection. BTO capture the mood, effortlessly. If ever there was an album you needed in your collection, it’s this one. Buy ‘MR’, now.
10/10 **********
For fans of Loaded, A.I.C., Damn Yankees, B.S.C., Soundgarden, Faith No More, Nirvana, Crash Test Dummies, Stiltskin, GUN, Pearl Jam, The Blackwater Fever, Bang Bang Firecracker.
Metalcore, from Rouen, France, Inner Light now present their self-titled debut EP. Available now, ‘IL’ follows the 2022 single, of the same name.
Founded last year, IL’s sound is influenced by numerous bands, including Heaven Shall Burn, Architect, Trivium and others.
A new EP is in production, due for release in October 2023.
Press enquiries to Didier, at Sound Of Silence and Marine, for band and booking queries.
Inside My Veins – Cool, steady intro rhythm, with strong drums behind it. Roaring vocals. Thrashy, moshing sound. Slightly more extreme than expected, but passionately done. Growing more involved, the further in it gets. The melody hits, towards the end. There, the cymbals make themselves known.
Scars On Earth – Heavier drum opening, setting the tone. Growly vocals, again, but with a catchier beat. Very percussive. Extremity increasing. Cymbals appear, 3/4 in. Digging in, with added compression. Just a very blackened sound.
Monsters – Another percussive number. More vocal extremity, intensifying the gore. Slight melodic and pace alternation, 1/4 in, but taking it up, again and back to the monster roars. The beat’s always capably continued. Melody returns, just before the end. Liquid fade.
Messiah – Rapid rhythm fires the intro. Then into ogre-ish roars, again, as the drums rattle on. Increasing and entrenching the intensity. Very standard black metal fayre. A drum solo, at the bridge, before returning to the extreme vocal focus. Melody flows in and out, while the death vocals suddenly evolve, into full force screams and it has to be said, very well handled ones. A final drum section ends.
Inner Light – Opening with a more melodic groove. Then right back into honey monster vocals. The melody settles, in a steady, but alternating pattern. Very visceral crust. Woven melodies just keep it that bit more balanced. A full accompaniment joins the roars, at the end.
Overall – Pretty standard stuff, for the metalcore genre, ‘Inner Light’ gives a much darker impression than its title suggests. It’s proficient enough and there is melody featured within it, but the style of delivery just generally doesn’t inspire, or lend itself to the concept of originality. An okay-ish listen, but nothing new, or notable about it. A sound you can take or leave.
6/10 ******
For fans of Carcass, Iron Monkey, Def-Con-One, generic death/black/metalcore/melo-death.
Out now, ‘Trip The Wire’ is the self-titled debut, from Seattle, Washington hard rockers, Trip The Wire. Complete with all the contagion expected from the genre, ‘TTW’ encompasses a spectrum of moods, with evocative features, making for a fun, but sophisticated listen.
Formed in 2020, their debut appearance took place in their hometown, of Washington.
Straddling old school and modern, ‘TTW’ combines eclectic themes, relatable to many and comes with an associated video (‘Hurricane’), frontwoman Eve Clarke’s video debut.
Produced by Sean Walker, at Uberbeatz Studios, Lynnwood, W.A. and Maor Appelbaum, at Maor Appelbaum Mastering, L.A., CA.
In The Crossfire – Electrifying riff intro! Laying down the heavy vibe, straight away. Complete synchronicity). Well powered vocals, hitting the peaks, effortlessly. Drums forming a great consistent backbeat. Very Lita Ford/Dokken-esque vocals. Lots of tasty riffage, plenty of deftly handled speed. Just a really classy sound. Perfect definitive end.
Anti Love – Beautifully delivered acoustic opening, neatly followed, vocally. Then breaking down, into a heavy sensuality. Great blues powered hard-line sounds. Those vocals come into their own, here. This is where that adept traditional/modern combo enters, revealing a real grasp of the right ingredients. Ending as definitively as before.
Hurricane – Straight in, with a really sexy sleaze rock hit! Those screams hit it hard, each time. Gorgeously performed accompaniments, with plenty of slide. Top-quality melodies, easily catchy, handling every key change and rhythmic alternation, masterfully. So much sensuousness. Those riffs sing to you, while those vocal peaks hit precision tones, as the drums roll it on, till the end.
Zombie Child – Bass opens, with startling sharpness. So much vocal power, as before. A ton of melody hits hard. Ace paradiddle, towards the bridge, adding extra effect. Sleaze tones following. Real cohesion, here. Playful, yet controlled, adding another riff twiddle, 3/4 in, before compressing that bluesy undertone, fading out, on a vaguely cyber effect.
Shine On – Opening with some summery sound effects and a very Hendrix-esque psychedelia. Ballad style, only harder. Here’s the wild card, sustaining a constant balance between soft and heavy. Drums really hitting the emotions, past the bridge, as that beautiful riff solo follows, with the storm, fading it out, with the final vocal tone.
The Fire – Similar acoustic style intro, but now with a vaguely sinister thread. Drums building it up, before breaking it down, into a heavier sensuality. Always vocally effective and impressive. Real peak precision. That creeping riff lies behind the lyrics, before emerging, into the light. Carefully executed sound and style impact combo. Delivered with real well justified confidence. Another defined outro.
Maybe Next Time – Blazing hot intro)! Right into cool, casual confidence, with sophisticated execution. That now familiar blend of sleaze/acuity really brings an edge to the delivery. Especially that riff reverb bridge. Capitalising on the compression and cohesion, with that vocal/instrumental chemistry. Crescendo close.
Outta My Hands – Drums open, onto a slightly darker, more contemplative soundscape. A deeper interlude essence. There’s breathing space in here, yet a lingering sensuality remains, strengthening, in that vocal scream, 3/4 in. Riffs screaming and sharpening, in unison. Drums taking the reins, at the end.
Never Enough – Drum intro, right into a rocked up arrangement). Again, that touch of sleaze adds flavour. Those powerful vocals just rock so hard! Easy flow to this rhythm. Such evocative lyrics. Those riffs just rock it up, all the way. The whole track’s a classic rock hit, from start to finish, especially in that fade-out riff.
Step Nine – Acoustic tones open, darkly, but beautifully and poignantly. Vocals meeting them, right in the middle. Contemplative space, within a profoundly meaningful lyrical delivery. No hesitation, just total self-assuredness. Riffs peak, towards the bridge, screaming with real emotion. Even those cymbal hits are filled with feeling. Just as the drum hits are. Such a cohesive connection, here, played out with absolute sincerity. Uniting in that incredibly timed joined up section, carrying it to the end.
Overall – Deeply and consistently affecting, from beginning to end, ‘Trip The Wire’ touches the deepest parts of the listener, as much as it impresses, through every beat and heartfelt word and tone. This is one profoundly anchoring, memorable album, in the most authentic way. Balancing classic and unique sounds, with such tasteful delivery, ‘TTW’ will leave you haunted, in the most hypnotic way.
10/10 **********
For fans of Lita Ford, Dokken, Heart, Bastette, Muddibrooke, Girlschool, Viking Queen, White Crone, Winterhearth, Halestorm.
‘Imposing Truck’ is the new album release, from Mass Crysis, out on The Goatmancer Records.
MC began in 2011, as a thrash metal band. 2012 brought live shows, supporting Satanika, Sofisticator and Bloodtruth, at regional festivals.
The end of that year saw MC launch their debut 4 track demo, ‘Die Totale’, to positive acclaim. In 2013, their debut global tour took place; opening for Neurasthenia, for the East European leg of the tour.
2015 was a year of change, for the band, when all but front man, Jeffckott left MC. They returned in 2017, with a new line-up, with real chemistry, playing at numerous metal festivals, alongside renowned bands, Redriot, Reverber, Nanowar Of Steel and more.
A new LP arrived, in 2019. Following the COVID pandemic, 2022 brought new opportunities, including being selected to write the Official Rock Riders FMI Bikers Hymn, launched at the Rock Biker Motorparty.
More live appearances led to MC being chosen for the semi-final for Agglutination Metal Festival, at which, they came 3rd.
Big Black Dog – Good strong intro. Employing some stop-start stuff, early on and ramping up the tension, some more. Great riff scales. Equally strong vocals, with the edge. Slowing it down, on the way to the bridge, adding a tad more percussive propulsion. It’s definitely got the burn. Just needs a touch more power. Fairly impressive lyrical impact. Building it up, steadily, with good melodic sustain and a slightly stronger touch on the drums, closing.
Earthquake – A suitable rumbling opening, then into a classic hard rock groove. Good bass line, underlying. Less exciting melody, but the vocals remain powerful. That riff twiddle wakes it up, 3/4 in! Very effective paradiddles, there). Drums gelling, more evidently, towards the end. Vocals bring more definition, at the end.
Boom – Good follow-up, with some gorgeous slide riffs intro’ing. Again, those edgy vocals add the dynamite. Looser instrumental emphasis. Waking it up, again, just past the bridge, now with a twin guitar attack. Showcasing effective grasp of those scales, once more. Lots of acuity, in those vocals. Drum hits stepping it up, again, at the end.
Shit Politician – Deeper groove opening. Getting even edgier and sharper, vocally. Just in slight danger of losing the melody, to some extent. Drums a little spacier and breathier. Marginally overstepping the line between thrash aggression and growly extremity. Still some strong riffage in there, with a bit of added screech. Growing a little doomy, at the end, with that final Electric Wizard-esque riff.
Fit Of Nerves – Speeding it up, now, with a great race-track worthy riff). There, the drums are in sync. Loose-tight balance spot on, here). This melody works well, with the faster rhythm. Vocals returning to a more melodic emphasis. Intro’ing a gorgeously executed fluid riff section, injecting a sensual vibe). Great tension and screaming melody build, at the end)!
Ego Never Died – Careful fade-in, bringing a new rhythmic focus. A great shiny riff section, flexing those tones, seductively. Vocals ratcheting up the aggro factor, throughout. Playing addictively, with those riffs. Taking it to a fevered end.
This Is The Game – Slowing it down, to a sensuous southern stoner groove). Here, the vocals slide straight into that sexy rhythmic melody. Bass forming the central emphasis, before the bridge. That sudden faster pace sadly, detracts from the sensuality of the moment, but it has to be said, those riffs are still a very sexy presence, fading it out.
Closed In A Body – Straight into a heavy rock intro, straddling a Tenacious D/tangy hillbilly style, in the vocal stakes. Lots of instrumental focus, fitting in with those lyrics, in a streamlined formation. Fairly short, but certainly evocative).
Blues – Heavier riff intro, doom/stoner style. Then speeding up, playfully, in a fun vocal drive. Throwing in a similarly experimental, free-form style percussive section, joined by a funkier riff groove. Convincingly adept handling. Creeping bass chasing the rest, till the end. Something of a cat and mouse visual.
Overall – Enjoyable, fun-filled plethora of sounds and visions, ‘Imposing Truck’ certainly impresses upon the memory. Creatively heavy, yet sensuously groove-laden, it’s an album with original features, well worth your time. Always intriguing, while comfortably catchy, ‘IT’ is a production with the edge.
9/10 *********
For fans of Tenacious D, G’N’R’, Electric Wizard, SOiL, Megadeth, C.O.C., A.I.C., Kikamora, Down, The Climate Stripes.
Social media links unavailable, at time of writing.
The first in a series, ‘Sword & Sorcery Vol.1’ comes at you from the doom/thrash L.A. band, The Cimmerian.
The literary themes of ‘S&SV1’ revolve around folklore of ancient gods and goddesses, as fictionalised, for film, specifically Conan: The Barbarian and referenced in the books of Robert E. Howard and numerous comic book adaptations.
Founded 2021, from ex-members of Septik Onslaught and the 3rd member, who charmed the others, with Halloween treats, he brought to initial rehearsals, in addition to his impressive performance style.
Inspired by the greats, such as Motorhead, Black Sabbath, Venom and Gates Of Slumber, plus literary lyrical influences, from historical fiction and non-fiction.
June 2022 saw their debut EP release, ‘Thrice Majestic’. As of this year, 2 new tracks, ‘Suffer No Guilt’ and ‘Inanna Rising’ are recorded for the ‘S&SV1’ launch.
Produced by Robert Frank, at Minor Chord Studio. ‘S&SV1’ is out on cassette and digital formats.
TC is: David Gein (ex-Black Pyramid, The Scimitar) – guitar, Nicholas Rocha (ex-Deathkings, Pendulous) – bass and vocals, David Morales (drums).
Suffer No Guilt – High energy drum roll intro. Growled vocals, but still audible. A little more sludgy than doom. Quite a vibrant riff central. The bass is strong and the bridge melody lifts the song, slightly. Lots of vocal and instrumental aggression. Hard to find much enthusiasm for anything, but the riff melodies, when extremity’s so heavily lent upon, but generally, it’s an impassioned and energised performance.
Inanna Rising – Slow, careful fade-in and straight off, this hits true stoner/doom territory, with a much stronger sound. Growly vocals return. More instrumental complexity. Slightly looser bass. Cave-like effects yawn, towards the bridge, as twigs break and embers burn. A livelier riff, at the bridge intro’s a better groove, accentuating the melody. Then an embedded rhythm change. Continued vocal extremity. A slower, but more stoner-based riff and bass line, 3/4 in, picking it up, some. Heading in a clearer direction, towards the final fade-out.
Overall – A little muddier than expected, ‘S&SV1’ delivers perfectly good musicianship, albeit missing the opportunity to make more of the lyrical influences, vocally. For historical and folkloric themes such as these, clean vocals help clarify the messages, so nothing was learned, in their absence. Melodically, however, it was more powerful, if a bit tonally duller, in places. Stand-out features were the riffs and drums. Ultimately, a good enough production, but lacking in thematic direction.
7/10 *******
For fans of Tommy Stewart’s Dyerwulf, Gravehuffer, Day-Glo Mourning, Bludy Gyres, Doombanomicon, Cathedral, Clutch, Probot.
Psychedelic heavy rockers, Tumble present their debut 2 track EP, ‘Lady Cadaver’. Stacked with authentic melodies, with the atmosphere to match, ‘LC’ is a vividly trippy number; ‘The Plague’, a harder, catchy track. Both songs offer an imaginative experience, with seductive, yet high-impact charms.
A Toronto, Canada-based power trio, Tumble take their hard rock/psych inspirations from bands like Budgie, Blue Cheer, Cactus, MC5, Pentagram and The Groundhogs. Founded in early 2022, they quickly progressed, from small-scale local gigs, to supporting the likes of Crown Lands, Ecstatic Vision and Witchrot.
Earlier this year, Tumble were noticed by renowned rock musician/producer, Ian Blurton, who then produced and recorded ‘LC’, in his ProGold Studio. An independent release, ‘LC’ is out now.
Mastering – Brad Boatwright, at Audiosiege.
Cover Art – Leesa Westwood.
Lady Cadaver – Very 70’s vibe, right from the intro. Laid-back, casual mood, featuring central power grooves. Speeding up, towards the bridge, some very decent riffage and a classic Bonham-esque drum solo. That momentary pause, following it’s a bit superfluous, but the colourful riff melodies continue, till the end. It’s a bit derivative and some would even say contrived. However, it’s still got a fun vibe and the musicianship’s very proficient.
The Plague – Darker booming bass and drum opening, with shadowy, haunting features. Certainly a more exciting feel to this and it’s got the intrigue factor down. Speeding up, around the bridge and throwing in a funk element. A tighter arrangement, featuring more inventive riffage. It definitely drives harder, both rhythmically and tonally, ending in a very effective tang to the reverb echo. Still sustaining that 70’s sound.
Overall – Having 2 tracks to go off here is a helpful scenario, as the 2 are quite different and complement each other, well. While ‘LC’ is instantly resonant of certain bands of that era and could be described as copycat style, ‘TP’, in contrast, transports the mood to other directions, via its enigmatic atmosphere and darker, more creative structure. Both are vivid, in their own ways, with essentially good craftsmanship at their hearts. Good filler material.
8/10 ********
For fans of White Rabbit, Led Zeppelin, Uriah Heap, Blue Cheer, King Crimson, Lynyrd Skynyrd, Dave Edmunds.
From out of Detroit, Michigan, Among These Ashes now present their new single, ‘The Enemy In I’, complete with a B-side Savatage cover of ‘Sirens’, delivered with their customary lively melodic power thrash style.
‘TEII’ follows the debut album, ‘Dominion Enthroned’. Slicing the line between solidly heavily metallic and structural and lyrical complexity, right down the middle, ‘DE’s themes were influenced by current social realities.
‘TEII’, in contrast, revolves around the fall-out of self-immolation. Each track shares merciless force and accessible tonal melody, while ‘Sirens’ pays due homage to the powerful influence of Savatage and other classic traditional bands on ATA’s sounds.
‘TEII’ is a DIY release, featuring cover art by Jayson Cessna (Prosthetic Records Artists, Astralborne), with photography by Brian Sheenan, from legerdemain_art, out now, online.
Both tracks come with associated videos.
The Enemy In I – Booming electric intro. Even throwing in a Devil’s tri-tone, early on. Straight out, that ‘pummelling’ feature alluded to by the band is clearly audible. The perfect combo of speeding heavy-metal darkness and impassioned melodies. Those deeper backing harmonies bring an anthemic streak to an already powerful sound. As energised as expected, with a solid, underlying bass and a wall of steel, courtesy of the drums. Vocal comparisons with Rush and Disturbed, while the rest echoes idyllic metal signatures.
Sirens – Careful, but confident lead into the track, with all the echoes of the original. Injecting that same haunting, yet compelling shadowy dark night atmosphere. Drums tumbling down, in perfect formation. Considered cymbal touch and timing. Impressively honed vocals, releasing precision power screams. Riffs fading out, at the end.
Overall – Every bit as boldly metallic and highly driven as claimed, with startlingly accurate precision on the cover track, ‘TEII’ features many metallic highlights. A flawless execution of a top-quality production, enticing as it is ominous.
10/10 **********
For fans of Savatage, Rush, Disturbed, Black Sabbath.
Introducing 3 new singles, from metal soloist, Shane Steward. Heading in a thrashier direction, from his previous material, featuring cover art titled after the first single, ‘The Devil Comes’, the other tracks are entitled ‘At The Crossroads’ (mix) and ‘Dread And The Fugitive Mind’ (Megadeth cover).
The Devil Comes – Instant classic thrash riffs set the tone. Well co-ordinated drums, accompanying. Very Mustaine-esque vocals and riffage. Great, catchy, accessible melody. Carefully timed. Well handled scales, offering their own contagion. Very adept tension build, refined delivery, sustaining the power, all the way. Ending with just a hint of reverb. Fading as astutely and metallically as it began.
At The Crossroads (Mix) – Cymbal hits intro, in a 90’s heavy metal style, followed by a downwards plunge, into deeper realms. Vocals darkening, while remaining catchy. An easy mid-paced rhythm fits right in, with that hard rock styling. Classic metal lyrics, relatable to many. Driving it on, to the bridge. Some very vivid, catchy riff breakdowns. Picking it up, slightly, 3/4 in, then lifting the melody, to a classic power angle, with a Celtic hint. Some beautifully executed melodic riffs race to the end, with matching quickened drum rhythms, with innate definition.
Dread And The Fugitive Mind (Megadeth cover) – Similar cymbal hits opening, then dropping down, into that glorious familiar Megadeth sound. Just slightly slower vocals, in places, but that recognisable riff edge is there. The fact it’s not rushed, which could be very tempting, actually lends it more room for signature refinements. It’s a good cover, though, with a plausible and well considered delivery and let’s face it, you can’t fail to enjoy Megadeth, cover or not.
Overall – Featuring much of Shane’s trademark style, specifically, his recognisably exciting riffage, ‘The Devil Comes’ is a very good collective production. Whilst the fact it’s a new direction is audible, here and there, it also reveals the due care and attention that’s evidently gone into creating this new set of releases. As ever, Shane’s resisted the common urge to rush, whilst still incorporating more refined quality speed, where it belongs. His skill for sustained melody is as present as ever and his vocal experimentation’s admirable. The stand-out factor’s the riffage, as with all Shane’s work and ultimately, ‘TDC’ is an enjoyable and fun recommended listen.
8/10 ********
For fans of Megadeth, Metallica, Testament, Anthrax, W.A.S.P., Steve Blower, Hamerex.
‘Hellbound Heart’ is the new single, from Sheffield’s modern metal band, Shadow Smile, taken from their debut album, ‘Signed In Blood’.
Rumoured to be an ominous force, from the dark underground, SS arrived on the scene, in 2019. Inspired by the likes of Avenged Sevenfold, Ghost, BMTH and While She Sleeps, they’ve been hypnotising corruptible followers, via dark enchantments, ever since.
The full range of SS merchandise is available, at live gigs, where fans are initiated into the band’s depraved underworld.
Promised to “satisfy all your animalistic urges”, ‘HH’ is available, now.
Engineered by Daniel Jeffery, at Treehouse Studios, UK.
Hellbound Heart – Subtle echoed enchantments lead into an energised metal intro, complete with suitably aggressive vocals and an upbeat, catchy melody. Visceral lyrics suit that extreme/melodic combo, well. Electrifyingly sharp riffage, well controlled drum timing and even a cheeky piano tinkle in there, at 2 mins: 29 secs. A ton of metallic passion’s poured right through it. A bit more background echo, towards the bridge. Handling that powerful vocal delivery, impressively. Building in breathing space, for the accompaniments. Staying strong, vivacious and vital, till the end, ‘HH’ is a great, high-quality, heavy, hooky track, bound to draw in fans, en masse.
9/10 *********
For fans of Vicious Rumours, SOS, The 69 Eyes, sonic/alt/melo-death combo’s, generally.
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