A fusion of traditional modern metal, NWOBHM and metalcore, The Unslain are inspired by bands as diverse as Metallica, Megadeth, Maiden, Bullet For My Valentine, Trivium and Lamb Of God.
Lyrically, their material covers a lot of ground, from interpersonal, spiritual and mental health crises, to external societal issues.
The 2018 debut album, ‘We Will Battle’ influenced the band’s evolution, to a more up-to-date, but still classic sound.
2019 brought them the Dutch Wacken Metal Battle audience prize, followed by several singles, during 2020 and 2022. Since then, TU have signed with Rexius Records.
Welcome – Intro’ing like a cave mouth opening, followed by darkly delicious riffs, both acoustic and steel string, laying down the heavy vibe. Building tension, till the end, just stopping a tad too early, but just long enough to savour the track.
To Hell – Fast shredding opens, lifting the mood, straight away. Typical metallic vocals, with a clear gritty element, packing even more melody. Lots of groove, enhanced by the backing anthems. Slowing it down, at the bridge, to a Sabbath-esque rhythm, before revving it up, again, to more lightning riff melodies, keeping the energy up. Gathering collective pace, echoing Metallica-esque stylistics and they do it so well. Drums hammering it home, to the spooky piano outro, adding a hint of darkness.
Quintessence – Clicking rhythms intro, onto a darkened drum roll, with a slightly eerie melody. Taking it up, while adding some vocal combo’s, working well; particularly in the anthemic sections. Upbeat riffage, flowing, easily. Alternating the tones and timbres, with the eclectic rhythms. A definite shade of alt death, in there, too. Bringing it to an end, on a feedback riff and sucking it back into a vortex.
Unslain – Heavy riffs rain down, at the intro. Vocal rhythms fitting right in with them. Fun, heavy drum hits join. Well synced vocal harmonies. Again, they nail that tension. Accessibly rhythmic. A well flowing track, cohesively delivered. Strong drum impact. Smooth fade-out.
Within – Smooth fade-in. Into a lightning riff and a howling roar, before the groove kicks in. Instantly melodic vocals, enthusiastically conveyed. Riffs speeding, to a catchy pace, creating that car chase impression. Effective harmonies. Spoken sections merge with the rest. Plenty of groove melodies, with more Metallica-esque style. Those harmonies are its star feature, again. Just fading a tad too soon.
(In) Hell I Am – Heavy drum beats open. Low bass teases, under the line. Sexy riffage follows. Faster pace, with more yummy Metallica spirit. This has got the most groove, yet. Likely to be the hit. Stacks of ever increasing melody and a whole load of rhythm. Stronger vocal emphasis and an additional voice, enhancing the effect, with a powerful duet. From there, the track flies). Real connection, here, ending with the most definition yet.
Eroded – Coming in, gradually, then ratcheting it up, straight away. Alternated rhythms and a clearer extreme aspect. Varying the vocal styles and each gets a chance to shine. Low-lying grooves reinforce the melodies. Drums strengthening, towards the end, where the cymbals meet.
Into The Unknown – Deep opening tones, soon expanding outwards, into catchy rhythms. Some complex riffs going on, there. Very capable vocals and a clear underlying tension. Mid-paced drum hits and a decent bit of whammy and vibrato, at the bridge, taking it into another tonal change. Smooth vocal melodies follow. Quickened end.
Let Me Stay – Sudden stillness and solemnity brings a new sound, altogether. Beautifully performed acoustic, showcasing an immediate wildcard. Very moving lyrical delivery, peaking, in parts. Building it up, to the crescendo, at the bridge, so powerfully and touchingly. Drum beats meeting the riff melodies and vocal strength, in complete synced unison. That’s a melody I could listen to, forever and this is my favourite, so far). Sung with so much passion, it just grabs you and doesn’t let go)!
Long Road Out Of Hell – A real groove intro! Liking it, instantly. That vocal grit returns, to take you with it and those melodies join it. Here’s where the strongest Metallica-esque echoe lies and it’s divine. So much powered passion, here, too. They’ve really nailed those vocal melodies, big-time. Playing with those rhythmic drum drops, to great effect and building them back up, again, to speed chases; melding them with sporadic vocal chants. Ending on a rhythmic drum hit.
Eden – Part 1 – Apocalypse Postponed – Easing into the intro, effortlessly. A rapid pace, from the outset. A news broadcast oration leads into a suitably Apocalypse Now-esque section and back into a catchy, metallic pace. The news broadcast returns, before a deep-set bass line changes the pace, again. Adding a deathy vocal, next. Then a great bit of riff wobble and then smoothing it out, again. Intermittent spoken sections mingle with high-level melodies, fading out on colourful riffs.
Overall – A very enjoyable album, with plenty of variety and a large helping of groove melody, ‘Descending’ showcases versatility and metal spirit, in equal measure. Carrying off hits and wild cards, with effortless ease; the cohesion and vocal grit and harmonies are its USP. Definitely one for mood-lifting re-listens, ‘Descending’ is well worth a spin, or two.
9/10 *********
For fans of Metallica, Nickelback, Stiltskin, Chad Kroeger solo material, Trivium, Die No More, Extreme, Death Blooms.
An ever progressing sound, with a melo-death focus, Pronostic incorporate diverse inspirations and stylistics into their music. Thematically, narrating the lived realities of the band, the songs are a means of self-expression, intended to connect with and support others, in their own struggles.
Largely based around Montréal, Canada, Pronostic formed 13 years ago. Originally, known as Warfare, the band name changed in 2010, with their debut album, ‘Deviated Inner Spectrum’, recorded by Mathieu Marcotte (Angury).
Pronostic is a direct wordplay on the term ‘prognosis’, intended to flip it to a more positive meaning; namely, to carry on, regardless. (Unintended pun).
The live debut of ‘DIS’ was performed alongside Dying Fetus, Beyond Creation and Anonymus.
2015 brought a new liaison with renowned metal producer, Christian Donaldson (Shadow Of Intent, Crytopsy, Beyond Creation, The Agonist); leading to 2nd album, ‘An Atomic Decision’.
Live tours followed, with a TVBL feature.
Following a brief COVID lockdown enforced hiatus, the band decided to continue. They then took advantage of this time, to create new aspects of their continued sound; enhanced by the assistance of orchestral metal pioneer, Francisco Ferrini (Fleshgod Apocalypse).
Soon after, Pronostic brought a saxophone into their sound, bringing a much more melodic element into the mix; reflected, in the current album, ‘Chaotic Upheaval’, available now.
Pronostic is: Charles ‘Butcher’ Pilotte (guitar/low vocals), Alex Lauzon (guitar/vocals) and Xavier Sperdouklis (fretless bass).
Indefinite Continuity – Heavy, melodic bass intro, with a bluesy streak. Unexpectedly unusual, for a melo-death track. Suddenly firing up, into classic death metal style, and a lively blend of ogre-ish and screamo vocals, as melodic riffs play, alongside. Lots of accessible complexity and a battering ram of drum hits. Even a quirky, yet very fitting key section, just as it finishes.
Massive Disillusion – Energised drum hits open. Into a sharpened speed riff, with lightning streaks flying off it. Gorgeous melodic accompaniment. More extreme vocal combo’s and then a supremely suave riff refrain. Sax entering, just before the bridge; injecting a real soul angle into things. Those melodic heights are so refreshing. Anthemic shouts, towards the end, creating a Viking-esque impression.
Conclusion Impromptu – Banging drum intro. Straight into a busy sound, with troll vocals following. Stepping up the aggression, while keeping the melody high. Intensified drumming takes it to the bridge, where brief spacey, sci-fi sounds appear. Smoothing out the melody and picking up the pace, again. So vibrant and alive. Showcasing impressive riff dexterity, till the fade-out.
Concealed Parasite – Spooky, thriller-esque opening. A barrage of drumming hits hard. Melodic riffage enters, prior to even more intense blackened vocal extremity. Melodies levelling it out, again, then multiplying the effect. Merging, into bluesy sensual fluidity, closing on a buzzing riff tone.
Waves – Intro’ing on a very fluid riff sound. Into a tech riff, with spacey elements. Taking it right into cinematic action territory. Heightening the speed, then hacking open the sky, with cutting drum hits. Sustaining the melody, right to the definitive end.
Bare And Wretched – Brutality, from the off. The ogre returns, before yielding, to high octane melody and then re-joining the fray. Backing vocals and anthemic harmonies smooth the harsher edges, here and there. Riff melodies continue, multiplying, with the rest. A full on thrash/death refrain fires it up, till the final beat.
L_impurete Globale – Hammering it home, right at the intro, with fulsome drum rolls. Tempering even melodies, with harsh vocal extremity. Speeding it up, towards the bridge, where the vocal duos enter, before riff melody overtakes. Brutal sounds are back, past that mid-section. Always evolving, through various styles and intensities. Bass notes fade out, with an echo effect, slightly resonant of psych virtuosos, Vai and Satch.
Drained By Remorse – A high velocity tech riff opens. Straight into the groove. Again, the blackened brutality returns. Hammering drums hit it home. Slightly more vocal extremity and sharper acuity. The melody still remains, scaling it up and down, with the bass underneath, all the way to the end.
The Pure Celestial Being – Airy, but powered drum hits rage into the opening. A slightly looser vocal aspect, with the same extremity. The riffs fire it up, with high-level melodies, again, delivering stacks of power. Vocals unite, at the pummelling end.
Abstract Entity – A slightly symphonic intro gives an instant impression of cave mouths and cinematic orchestration. Brutal force overtakes. Continuous riff melodies yield to full power drum rolls and blackened vocals, before retreating, as smoothly sensual riffage comes forward. Melodic vocal quality appears, ¾ in, leaving space for a beautifully timed and performed fragile piano finale.
Overall – A very memorably, uniquely constructed album, featuring unusual sound and style combo’s; impressively delivered, ‘Chaotic Upheaval’ stands out from the crowd, on many levels. Showcasing rare possibilities, of genre-defying accomplishments, performed with expertise, while sustaining focus and energy, within a skilfully produced package, it’s a solid example of metallic exploration and the workable worlds within it.
10/10 **********
For fans of Kalmah, Hammerstroke, Aythis, Iron Maiden, Carcass, Sabaton, Arch Enemy, Helloween, Immortal Empire, Amon Amarth.
Founded in Lisbon, Portugal, Coastwise present their debut album, ‘Hard Rock Is Back’.
‘HRIB’ follows their 2022 debut EP, ‘War Machine’.
Well acclaimed, on the live scene, Coastwise also introduce the new bassist, Aivan Sousa.
‘HRIB’ was produced by Makoto Yagyu. It’s a DIY release.
Make Yourself Ready – Sharp, electrifying riff intro. Just finishing a tad too early, with a cymbal flourish.
Hard Rock Is Back – Another cutting riff opens, onto a classic power metal refrain). Modern vocal edge, whilst holding tight to the golden traditional sounds. Hooking you in, straight away. Fiery, upbeat lyrics and tones. Now this is true passion)! So anthemic, with a real ‘Heavy Metal Killers’ feel. Great production standard, matching the performance energy. Melody shines from every angle, ending with a perfect precision power scream). Like a merging of all the old favourites and the best of the new wave.
Vampire Love – Joyful laughter opens, setting the scene for a sexily edged speed number. Pitch perfect vocals, again, screaming passionate authenticity. High-level riff melodies, catchy tones and uplifting flavours harmonise, to the equally energised end.
Gimme What You’ve Got – Meaningful drum rhythms intro, along with a strong bass line, moving into precisely merged groove stacked riffs. Sensual delivery, from the start. Intuitively felt timing. Those vocals just carry it, to the top. Beautifully timed riff shimmer, scaling down, with pure physicality; climbing back up, with the same sensuality. Such a sexily orgasmic execution. The rhythms really do rule, here, from start to finish. Pure contagion and release.
Call Me Again – Opening on a pure, steel string chord, followed by palpably poignant vocals. This is the wildcard ballad and already, it’s clear Coastwise know exactly how to convey a metal ballad and exactly what to do with it, to keep it infectiously addictive. Absolutely beautiful riffage, singing and screaming to your core. Packed with every single element necessary to make a metal ballad an instant and enduring hit. Divine.
I’m On Fire – Straight back into the speed saddle). Incredible flair, cohesively conveyed. That vocal power’s just astounding, as is the grasp the accompaniments have for contagiously catchy song structure and movement. Melodic, all the way, featuring expert tense and release and rhythmic drive, throughout. Impossible to resist joining in.
To The Top – Screeching melody intro’s, straight back into another rhythmic number, loaded with groove. Perfectly pitched anthems, cementing the contagion, once more. This is going to be a guaranteed hit. Drums making the point, with puncturing hits, right to the end. Another gold standard one.
Jungle Showdown – Natural jungle backdrop, as expected, with a deeply melodic bass line entering, next. Unfolding and expanding, into a heavy riff section, punctuated, by the drums. Vocals sustaining the same energy and force as before, with that mood-lifting quality inherent. Still loving those power screams, hitting the right tones, consistently. Really intriguing combo of jungle atmosphere and metallic majesty. This is how to create a versatile wildcard, while still sustaining the signature touch. Melody drives it forward, slowing the pace, at the end.
Waking Nightmare – Precision riff groove opening. Into yet another melody stacked track. Mid-paced number, this time, with all the same power and sensuality. Brilliantly held vocal tones, exuberant accompaniments, sporting that sexy steel edge. So much rhythm and groove, to love, within this. Precisely timed closing crescendo. Just delicious.
Lamb In The Dark – Taking the mood down, now, to a slower, more sombre sound, with a flamenco feel. Again, beautifully performed, showcasing yet another versatile wildcard. Emotional lyrics, plausibly vocalised. Harmonising, ¼ in, with a similarly beautiful string section. Haunting palatability, still lifting the tones, from the bridge. Those screams are absolutely flawless and so sincere. Drum beats hitting at exactly the right point, completing the audio picture of physical feeling. Melting into those velvet silk riffs, fading it out.
Overall – The holy grail, right here. ‘Hard Rock Is Back’ plays the truest audio picture of how to make pure, impassioned metal gold and make it shine, with thoroughly believable spirit). All the ingredients are here and they’re performed with authentic, palpable soul. Keeping all melodic angles covered, throughout, while reflecting diversity, via several wild cards is a rare skill, but Coastwise have achieved it, in exemplary fashion. The resulting sound plays out as if the gods of classic metal are jamming with the best of the modern NWOBHM eras, which genuinely screams metal heaven. A gold find and a half, you need ‘HRIB’ in your life.
10/10 **********
For fans of Enforcer, Powervice, Voltax, Cauldron, R.A.M., Celtic Legacy, Farseer, Rush, DIO, Skid Row, Slash, Shahyd Legacy, Reign Of Fury, Little Angels, Corrosion Of Conformity, Damn Yankees, Crowning Glory, AC/DC, Kikamora.
Black Rabbit’s band title is based on a horror concept, of a viciously murderous 5 headed monster assassin, called Black Rabbit. Leaning into the thrash/death style metal BR play, the caricature is aptly violent.
Evolving, from their earlier material, ‘Warren Of Necrosis’ and ‘Taken By The Devil’, to a more refined version of aggression, ‘Hypnosomnia’ is their new album, featuring that current sound. Eclectic inspirations keep it fresh and diverse, however; thus, crossing these boundaries, into more experimental arenas.
Hypnosomnia – Fuzzy sounds open, onto a curious violin section, with metallic sound effects and an ominous undertone. Brief, but effective.
Neverending – Big, heavy, extreme intro. Very deathy vocals, lots of rhythm and a well polished production. Very darkened emphasis. Sharply searing riffs. Great whammy and vibrato bridge; enhancing the melodic components. Battering ram of unrelenting thrash metal, flying on, till the end, sustaining the blackened roars, all the way.
Culmination Of Hate – Swift riff intro, replete with uncompromisingly heavy drum rolls. Monster vocals. Very visually evocative, featuring exemplary audio levels. Racing on, packing in plenty of melody, on the way. Great balance of extremity and tonality. Showcasing impressive scale execution; faultless, to the last.
False Awakening – Single, concrete heavy drum hits drop into the opening, followed by coruscating vocals. Classic thrash/death combo. Breaking it down, at the bridge, into an intensified section. Mercilessly sharp rhythms. Vibrant tremolo and whammy, even more so than before. Piling up those rhythms, to the final, defining point.
Hollow Eyes – Solid, chunky intro, drumming defined. Feeling into the rhythmic groove, instantly. A searing, blackened focus, again. Puncturing drum hits, monster roars and concrete riffs create a massive physicality of sound. Definitive end, again.
Fake Blood – Crashing drum and riff opening, setting the tone, straight away. Audibly, accessible rhythm merges with the rest, creating a multi-layered beast. Slamming brutality rages on, rendering even the cymbal hits threatening. Ace bit of riffage, ¾ in. Really going for it, with those bestial vocals and burning heat, till the last second.
Delta Waves – Deep-set, heavy steel string intro, adding profundity, coupled with well timed, meaningful cymbal hits. Back to the wolfish growls. Entrenching that heaviness, further, with every beat. Staying dark, while introducing melody and a powerful bass line, at the bridge. A curious oration yields to increasingly blackened growls. Creature of the Black Lagoon territory, till the end.
Parasite Of Minds – Banging drum opening, breaking down the walls. Back to ravenous wolf vocals. Quick paced rhythms. Alternating them well. Building it up, to a towering inferno. Injecting some strategically placed wah, towards the bridge. Taking it down, to a steady drum section, with scathing riffs, cutting through the air. Sustaining that rhythmic centrality. Darkening the atmosphere, once more, at the close.
Paradoxical Sleep – Slamming right into your solar plexus, from the outset! Brutal heaviness reigns. Bass entering the equation, at the bridge. Speeding it up, just past that point, before levelling the rhythms out, then taking them back to the top, at the end. A proper blackened death fest.
Judgement Day – Silky smooth riff intro. Then a wall of drums crashes down, as the melody builds. Reintroducing that edgy vocal extremity. Sharp as ever, with some lyrical audibility, in places. Just very dark territory. Strong audio values, consistently playing out. A carefully building tension, featuring siren-esque riffage. Beating your brain to bits, with that barrage of drums. Melody re-entering, as it draws to a close, with a final cymbal flourish.
Descending – Suddenly veering into softer, pluckier territory, now, but then, the heaviness hits, once more. A sound bordering on melancholia is soon replaced, by grimy growls and drum blizzards. Growing more rhythmic, on and off, towards the bridge. Good tense and release. Darkness enshrouds it, but light glimpses still shine through. Great bit of shiny whammy, towards the end. Opening out, into a sinister closing melody, matching the lyrics.
Hellfire – Huge intro! Immediate and eviscerating. Inserting a touch of riff melody, before the monster of the deep returns. Intensifying the rhythms, in places. Evil lyrics, easily evocative. Drum beats reinforcing every note. Raging, with burning heat, right till the very last.
Overall – Precision execution, all the way, from start to end, ‘Hypnosomnia’ is an exemplary album, meeting melody with searing thrash acuity and death extremity. Produced to the highest standard, with not a single note, or value out of place, sustaining enthusiasm, right to the end, it’s a blazing hot, carefully constructed production, performed with expert hands. Well recommended listen.
10/10 **********
For fans of Amon Amarth, Arch Enemy, Carcass, Testament, Bull Riff Stampede, Behind Bars, RAM, Immortal Empire, Slayer, Exodus.
Social media links unavailable, at time of writing.
Behind Bars came into being in 2015, in Belgium. Their lively brand of groove/thrash metal has seen numerous global stages, including at Wacken Open Air, Germany.
‘All In Due Time’ is their 2nd album, following a 2016 demo, a 2017 EP and 2019 debut album.
Known for their high energy, interactive shows, BB have performed alongside such bands as: Madball, Pro-Pain, Converge, Gruesome, For I Am King, Helmet, Watain, Fozzy, Moments, The Charm The Fury, Spoil Engine, Carrion, Better Be Dead and others.
They’ve also featured with In Flames, Hatebreed, Judas Priest, Ghost, Arch Enemy, Gojira.
BB are inspired by some of those same bands.
Means To An End – Heavy, doom intro, featuring death growl vocals, with some audible lyrics. Lots of steel emphasis. Mingling with melodic riffage, the thrash element’s clear. Brief, but well-placed backing anthems. Definitely much more extreme than groove. Strong drum beats, intensifying, at the end.
Bleeding Heart – Another heavy throwdown, opening. Intensely raw, serrated vocals. Just a huge sound, breaking into the extremity, with fitting riff melodies. Still very dark, overall, though. Lots of ogre-ish sentiment, reinforced by heavy, stomping treads. Drums very central. Definitive end.
Lockdown – Very similar sounding follow-up. Just a tad more urgent, with a faster, catchier pace. A little more anthemic vocal focus. As heavy as before. Consistently pounding drumming, insistently aggressive, throughout. Bass coming forward, ¾ in. Merciless rage, right till the end.
Silence Or Death – Massive drum intro; matched by the vocal aggression and speeding rhythms. Relentless rage roars, most of the way. Meeting the accompaniments, in tone and timbre, it’s a very samey, but powerful sound.
No Faith – Even heavier drum impact. Even more intense. Pure rage, enhanced, by the vocal backing anthems. A bit more rhythmically centred. Inserting the riff melodies at just the right points. The anthemic flavour really accentuates the darkness of the track.
Blackout – Another drumming throwdown, with enraged vocals following. Again, the rhythm serves this well. Sharp, riff-led emphasis. A blade of metal edge slices its way through the atmosphere, till the end, where it’s met, by the pounding drums.
Trapped Inside – Same sound, with just as much impact, but not much difference. Still, can’t fault that delivery. Confident expression and again, those anthemic shouts add to the heaviness. Careful to retain some lyrical clarity, amongst the roars, alternating the pace. Similar to the rest, as before, flawlessly executed, but needs more track variation.
Doomsday – Pounding drum beats open, followed by a sharp streak of electrifying riffage. Throwing out the same sounds, again. Strong, but samey, though there are some sudden intensified riffs and a touch more melody, now. Not much difference, otherwise, though. Drum hits taking it to the end.
End It All – Even heavier drum attack, intro’ing. Fast-paced rhythms, from the start. Very much the same as before, still, arrangement wise, though once again, that anthemic vocal aggression helps to ingrain that dark intent; lending the track a tad more memorability, in its placing, at the end.
All In Due Time – Into the fray; this time, with a slightly gentler emphasis and much more melody. Catchy rhythms serve it well. Sustaining the rage, expressed through a faster pace, once more, enhanced, by the anthemic style backing. Still needs clearer individuality. Roaring through, to the end.
Overall – Impossible as it is to quibble with the heaviness, or electrifying nature of its execution, ‘All In Due Time’ needs a lot more versatility and variation, though that’s its main issue. Flawless, in production and performance, effortlessly delivered and confidently conveyed, it’s the lack of deviation that lets it down. So whilst the rhythmic aggression might be memorable, the track specifics aren’t. Addressing that would do more justice to ‘AIDT’.
8/10 ********
For fans of Almost Dead, Boltthrower, Kalmah, Bull Riff Stampede.
Social media links unavailable, at time of writing.
Released with an accompanying video, ‘Where Are You Now’ is the new single, from rock band, The Virginmarys.
Influenced by John Hughes film, Planes, Trains and Automobiles, ‘WAYN’ follows their 2022 debut duo EP, ‘Devil Keeps Coming’.
Thematically, centred around the concept and experience of abandonment, unseen guardians, mortal terror and human crisis, ‘WAYN’ features parallels with band members lives, aswell as (the film) being a mutual love of drummer, Danny Dolan and vocalist/guitarist, Ally Dickaty.
A new studio album is currently in production, scheduled for 2024.
TV are completing their 2 month tour, supporting Sisters Of Mercy, today.
Press queries to Rob Town, at Stampede Press.
Where Are You Now – Bleak intro, featuring brief choral vocals, with a ticking clock, leading into frontline vocals, sung at a quicker pace, well punctuated, percussively. Visceral delivery, both melodic and accessible. A very raw sound, quite visually evocative, swimming, fluidly, in and out of focus, through palpable mood swings, from one extreme, to the next. The psychological pain’s almost palpable, conveying as much anger and rage as despair. Whilst ‘WAYN’ still features a recognisable Brit-rock/indie/alt sound, reflecting their past material, it’s on a whole different level of emotional expression, executed with an edge, unlike before. A hauntingly affecting track, packing a hefty punch.
8/10 ********
For fans of Oasis, The Kooks, Embrace, Arctic Monkeys, The Foo Fighters.
Commencing life as a lockdown band, Dovorian is the solo brainchild of composer, vocalist, multi-instrumentalist, Adam Sayer.
Also featuring lyrics and vocal melodies by Tom S.Englund (Evergrey) and producer, drum programmer, Jonas Ekhdahl (Evergrey).
An eclectic mix of metal, from all ends of the spectrum, ‘Hunters’ is the 3rd album, to date and is out now. It comes with a video, shot by Patrick Ullaeus, Gothenburg. Extra contributions from Johan Niemann (Evergrey), on bass, on ‘Heathens’ and Vikram Shankar, on ‘Silent Skies’, ‘Redemption’ and piano performance and composition, on ‘Someone Like You’.
Hunters – Intro’ing on a swirling storm and sinister tones, with some quiet background speech. Segueing, into a modern, Disturbed-esque heavy metal refrain. Deep, dark and expressive. Good production standard. Confident vocals, bringing out the grit, where necessary. Sound fading in and out, intuitively, in all the right places. Very soundtrack styled material. Lots of vivid riffage and well-placed wah use. That crunchy edge grows very Kyrbgrinder-esque, towards the end. Lyrically inspired.
Miracles – Whooshing in there, with a rapid, rotor blade effect. Effective acoustics. Moving down, into a pop-rock ballad format, before returning to metal style. Weaving in and out of both. Very crooning, in places. A little too balladic, for my tastes, but certainly a very strong performance, well produced. Smooth fade-out.
Hole In My Heart – Darkly powerful riff intro! Very desolate sense to it, but growing stronger, percussively. Again, the vocals are very Disturbed-esque. Melodically, driven, with the drums particularly prominent. Strong song structure, effectively delivered.
Awake – Carefully finger-picked fretwork, opening into a similar refrain to the last, with a touch more power and a slightly rockier edge. Still erring towards ballad atmospherics, though. Undeniably great musicianship and audio production, even if it’s a bit too emotional for heavier metallic tastes. Fading out, smoothly, again.
Seeds – Electrifying, pure heavy metal intro). That, at this point’s like manna from heaven). Sadly, though, it returns to the emotive ballad territory. Still, the drums do a good job of retaining the power and the vocals do weave in and out of stronger expression. As before, there’s some truly impressive musicality featured. You just yearn for a heavier melody.
Weapon Of Choice – Banging intro. Much more aggressive. Shaded release. This one could actually do with a bit more melodic variation, but it still rocks some fabulous riffage, morphing into virtuoso style, at the bridge. Around the ¾ mark, it’s straying back into softer territory, but luckily, the drums pick it back up, ending with definition.
Too Little Too Late – Slower paced bass intro. Once again, it’s another soft rock atmosphere. As authentic and love-filled as it is, the tone just gets a bit depressing. The melody does lift, here and there and again, it’s very skilfully and passionately performed, but the nostalgic tone’s just a bit much, killing the mood.
Heathens – Hopefully, harder opening. This is better! Dropping back down, to lowly, depressive tones, at times, but it retains the heavier element. Doesn’t really work, though, with that combo of sounds and the gloomier aspect still dominates. It just ruins the mood, however well executed it is. Needs a definite melodic upturn.
Dreaming – Straight into yet another maudlin melody. Morphing into yacht rock, now. Lifting, to a small extent, with a definite dreamy delivery, befitting the title. Once again, there’s no denying the high level of skill and ability showcased, but the constant emotional plunge becomes impossible to get past. It’s also getting too lyrically repetitive. An aptly smooth, but disappointing fade-out.
The Final Paper – Sharper riff intro, yet still hanging onto that same melodic downturn, at times. However, this is definitely far more uplifting, generally. Now, it’s almost hitting its stride, but it keeps returning to ballad arenas, now and again. Still, much brighter melodic vibrancy, injecting much-needed tonal height. That, coupled with the stronger vocal edge and heavier accompaniments creates a much more enjoyable, upbeat track.
Someone Like You – Back down to the doldrums, with a solemn piano opening. Vocally, ballad-like, once again, though as before, it’s still a highly skilful, powerful performance. Gentle riffs work well, for this style, as sombre as it is. This kind of track might work better, amongst an album of heavier tracks, surrounding it.
Never Out Of Sight – Intriguing riff intro, with slight Van Halen-esque hints. Taking the tone back down to melancholic depths. As well produced and performed as before, but yet again, the melody just brings the whole song down. No quarrel with the technical proficiency, at all, but that soft emphasis just kills the song’s essence.
Overall – First and foremost, ‘Hunters’ is an undoubtedly skilled and accomplished sound, in both performance and production terms. However, it has to be said that it’s over-emphasised ballad/soft rock format destroys the will to listen, more than necessary. The fact is, it does have moments of higher momentum, clearly showcased, throughout; proving the potential’s there, but the consistent return to overwhelming emotive keys and themes is off-putting and essentially, kills the album. Impressive, but ultimately, depressing.
7/10 *******
For fans of Disturbed, Van Halen, Joe Satriani, Steve Vai, The Climate Stripes, Europe, Toto.
Introducing solo metal artist Shane Steward’s latest album, ‘At A Crossroads’.
Left Behind – Cool, smooth riff intro, deep and pulsing with life. Very bluesy, with a strong slide element. Segueing into a chugging bass rhythm. Dark vocals, very Hetfield-esque. Great, powerful hook and groove. Speeding up, slightly, controlling the pace, well. Building melody throbs, sensually, till the end, fading neatly.
The Devil Comes – Fast and furious shredding, from the outset. Hooked, instantly. Very strong central melody. So metallic, carrying you along, with it. Classic metal lyrics and lots of riff sheen. Screaming riffage takes it forward. Securely sustaining the catch, right till the end, where its impact hits hardest.
Distant Shores – Straight in, with a high quality riff melody. Strong Megadeth-esque sense to the structure. Drums more prominent, here and the groove remains, throughout, accentuated by those wizard riff scales. Great tension and release build. Just a perfect metallic track.
At A Crossroads – Opening darkly, with a very Sabbath-esque atmosphere, cloaked in ominous mystique. Then picking up the pace, to another Megadeth-esque sound-alike. Very memorable, inventive lyrics. Really catchy thread to that chorus, reinforced by the dizzying riffs. The melody wins, all the way. Growing lighter, towards the end; following, with a very effective Maiden-esque drum section. Brilliant riff ending).
Tragedy – Down, to a steel string depth, instantly pulling you in, with its heavy sensuality. Taking it into a mid-paced rhythm, singing to you, through the riffs. Speeding up, past the bridge. Into another dizzying pace, nailing the hooky vocal delivery. Beautifully strummed chords, taking it on, to the end, with a soul-melting riff tone.
Childhood Ends – Right into a blitzkrieg intro). Frenetic riffage flies, furiously, through the air. Again, a notable Megadeth-esque streak. Loving those lyrics. Really hook strewn choral rhythms. Just class. Speeding on, with full-scale groove. Cymbal hits tinkle into the bridge, joined by heavy riffs and drum rolls. Getting better and better, with each passing moment. Faster riff rhythms form a classic metallic arrangement, ending so definitively and rhythmically).
Never Learn – Drum hits open, in pointed fashion. Cymbals interlink. Nailing the rhythm, once again. Such a catchy pace. Anthemic vocals just add further to the excitement of the accompaniments. Just as lyrically relatable as before, setting the scene, with those anthemic choruses. Everything here just gels, seamlessly. Increasingly exuberant, on every level, nailing the lift, with those driven melodies, closing.
Embrace The Fall – Solid drum and riff intro. Getting straight into the mood, once more. Inspired melodic groove. Slowing it down, slightly, with meaningful lyrical food for thought. Driving it faster, again, interweaving that pace with the slightly slower choruses, while sustaining and building the rhythms higher. Just an absolute acer of a track, packed with high-level musicality and craftsmanship, right till the end.
Other Side – Classic flow to the drum roll opening. Smooth movement, into the rest. Heavy beats, plausible vocal delivery. A comfortable, accessible pace, executed with authentic expression. Chugging along, at an exhilarating speed. Keeping the melody sharp and powerful, right up till the finale.
Overall – Definitively, Shane’s best work, yet, ‘At A Crossroads’ is everything you want a speed/melodic metal album to be, retaining that momentum, from start to finish. Every track’s delivered with peak acuity, edge, melodic musicality and memorable lyrical sounds. High quality craftsmanship screams through every note and it’s just so sensually groove-laden and catchy. Addictively rhythmic and well worth every second of your time, ‘AAC’ is the pinnacle of metallic power).
Due for release, 24th November, this brand-new self-titled 4 band split features Mourn The Light, High Priest, Ice Howl and Archdruid.
Encompassing an enlivening and meaty combo of doom, stoner, power metal, trad metal, melodic, fantasy folklore and NWOBHM, the split represents the sounds and stylistics of all 4 bands. It’ll be available from each band, on all formats.
A 9 track album, marrying both traditional influences and new and unique touches, the ‘Self-Titled’ offering showcases as much modern talent as it does, accomplished expertise.
Featuring the heavily metallic contributions of Curtis Baycroft (Napalm Vomit), Tyler Anderson (Gatekeeper, Odinfist), Zebah Latifi, Jason Roach, Mark Jackson and Kyle Wilcher, amongst its most experienced hands, ‘Self-Titled’ is set to be a stand-out release.
Cover Art – Dark Days Design.
We Are The Light (Mourn The Light) – Energetic drum fill intro, stacked with electrifying power). Down, into a very Whitesnake-esque refrain, with doom drums behind it. Moving up, into a slightly higher register, towards the bridge. Lots of pizzazz. Forming a drum barricade, in the middle, yielding to upbeat power riffs, as the drums still roll on. A winning melody, with an uplifting drive. Seamless riff, fading out.
No-One Gets Out Alive (Mourn The Light) – A mysterious spacey steel string riff intro, carefully paced. Taking it down, to the depths, but sustaining the power. Brief honey monster growls, before segueing, into a vibrant riff section. Varying rhythms, uniting, melodically, at the end.
In The Hall Of The High Priest (High Priest) – Big kick drum opening. Rocking a lot of echoed acoustics. A booming percussive presence. Vocally ritualistic, strong tonality and an edge of omen. Suddenly speeding up, towards the end and lifting the percussion, again. A bit samey and in need of more content.
The Wizards Gold – (High Priest) – Huge, booming drum intro. Very similar to the last, both vocally and instrumentally. Low bass, creeping up to the bridge, before a searing riff follows, injecting much needed sharpness. Evolving, into a very Metallica-esque, ‘Black Album’ style; especially in percussive terms. Big atmospherics. Fading, smoothly.
Old Men And Their Lies (High Priest) – Crashing intro boom. Sounding a bit cardboard cut-out, now. Retaining the heavy atmosphere, but a bit more vocally impassioned and theatrical. Again, it’s fairly low-slung, tonally, sustaining that doom factor, with a few higher pitched riffs. It’s dramatic, with clanging bell effects, but missing a spark of excitement and just a bit too drone-like.
Silent Resistance (Ice Howl) – Much more impactful opening! Here’s where the power element returns. Very melodic, packing more dramatic structure. Quite a brief track, ending slightly too soon, but still definitively.
Final Stand Of The Third Age (Ice Howl) – Straight in, with a seamless intro. Very clear lyrical narrative. Another melodic number, rocking an easy listening style, in places, then tempering it, with some heavier aspects. Again, a little bit of redundant end space, but it’s an enjoyable listen.
Green Outlaw (Archdruid) – Singular, doom-based drum hits open, in a slightly early Sabbath-esque style. Unusually high vocal tones, attempting some brave tongue-tying sections. Heavy bass presence, chugging underneath. Melody hitting its peak, just past the bridge. Slowing it down, ¾ in, but intensifying the melodic flavour, adding more percussion, both heavy and light, at the end.
Niseag (Archdruid) – Intro’ing on a feedback riff screech and cutting into a bluesy segment. Very edgy, zesty vocals, bordering on jarring. Certainly passionate, though. Chugging bass lies underneath. A neat bit of riffage hits, ¾ in, lending the song extra acuity. Gathering that atmospheric sound, in a marginally Portishead-esque manner. Closing on clanging drums and a final shouted vocal.
Overall – In many respects, this is very much a case of does what it says, on the tin. It is, however, quite wildly deviating, in stylistic terms, from one track, to another. Whilst you’d expect that, in a 4 way split, to some degree, it comes across as quite erratic, in places and whilst it does retain the drama, throughout, the shifting vocal stylistics create inconsistency; killing some of the tonal and melodic emphasis. ‘ST’ starts off well, gets a bit lost, in the middle, then picks it up, again, before losing it, in the latter section. So closer cohesion and a bit more uniformity would enhance its direction, considerably.
6/10 ******
For fans of Chaos Over Cosmos, early Sabbath, Savatage, White Wizzard.
Famous actor and horror mainstay, Courtney Gains introduces his comeback album, ‘Safe Haven’. Best-known for central features in films, Children Of The Corn and The Burbs, ‘SH’ delivers interwoven narratives, covering all angles.
Combining traditional rock and folk elements, ‘SH’s themes are very true to life, with CG’s trademark realism, bordering on protest.
‘SH’ is available now, on Fake Fangs Records, in both physical and digital formats. It’s an entirely independent production.
Among the American underground scene, since the 90’s, starting out in The Gathering, Courtney’s 1999 solo effort, ‘Journey Man’ featured Slash, on guitar and was produced by G’N’R’ drummer, Matt Sorum. It secured frequent airplay, on college radio. His 2006 band, Benny Bliss And The Disciples Of Greatness led to a rock ‘n’ roll comedy road film.
His latter film appearances include a cameo role, in Rob Zombie’s Halloween remake.
Courtney’s next band, Ripple Street was founded in 2009, recording their debut EP, in 2012. Co-pioneering the ‘cruise grunge’ genre, their debut album arrived, in 2017.
Bringing things up to date, Courtney released a 5 track acoustic EP, entitled ‘Acoustic Gains Volume 1’, in 2021, in addition to recent collaborations with Bruce Kulick (KISS) and Doug Blair (W.A.S.P.), on an HP Lovecraftian metal rock opera, called ‘Dreams In The Witch House’.
Courtney’s acting roles also include TV and video games.
2024 will see Courtney’s rock trio tour ‘SH’, in association with Children Of The Corn’s 40th anniversary, featuring film showings, with Q&A’s and live gigs.
Safe Haven – Low bass intro, with a rumbling, bluesy melody. Laid-back vocals, featuring rhythmic backing vocals. Lots of cool blues riffage, rolling along, at a relaxed pace. Very lounge bar style atmosphere. Pleasant bit of fluid tremolo, just before the fade-out.
Healer – Mild, wailing vocals open. Into an old school, boogie woogie piano section and rock ‘n’ roll refrain. Upbeat, with an echoic vocal format. Slowing it down, at the bridge, into a crooning style, before revving it back up, adding an organ section. Fading out, smoothly.
Big Brother – Intro’ing on a plucky guitar, following a moment of feedback. A very rhythmic one, with more of that classic old school feeling. Building it up, to a busier refrain, sustaining that old school flavour. Lots of rhythm and a bit more cymbal inclusion. Again, it’s the atmospherics that stand out, most. Smooth, melodic riff fade-out.
Bills In Space – A storm opens, onto a choral backdrop. Evocative of Ready, Steady, Go. It’s a little lowbrow, in its lack of excitement, but it’s very musically proficient. Slightly repetitive, brief track, ending with a return to the opening blizzard.
Look Out – A slightly stronger riff intro. Marginally harder refrain. Similar to the rest, but just featuring a tad more swing to the rhythm. This is slightly catchier, melodically and rhythmically, showcasing a bit more vocal edge, matching the rhythmic swing. Another smooth outro.
Good Times – A much jivier riff intro. Again, very traditional format, with blues aspect central. Simple rhythm, well executed riffs and unremarkable vocals. Effective beats and a looser style, closing neatly.
Overall – Whilst ‘SH’ is clearly an accomplished sound, with an obvious feel for the blues, it’s just lacking, in excitement and variety stakes. The musicality and craftsmanship are without question and it’s certainly visually and aurally evocative, with its atmospherics being its best feature. However, it’s in need of a large injection of adrenaline, to raise its energy and some track variation, for vital memorability. An okay chill-out listen, but a little lacklustre, in structure.
6/10 ******
For fans of Cream, Clapton, The Jam, Paul Weller, The Animals, The Kinks, The Stranglers.
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