A disarmingly disturbing crash of conflicting sounds and sub-genres, Tim’s Favourite offer up their ironically termed ‘zen metal’; combining grunge, thrash, prog, stoner and other random sound creations.
TF’s band name was invented after the band’s founder, Jan Pauwels, witnessed his then 3-year-old nephew, Tim, horrified at the sound of the band’s early demos, of the forthcoming debut album, to which he was listening. As Tim’s dissatisfaction with the band’s ongoing material grew, with him, he hatched a plan, to force improvements, by joining the band and binning anything less than perfect, to his own, apparently better cultured ears. The sound you hear today has resulted from this volcanic mix of history and fervently chaotic and angry live expression.
Throwing every hot topic of the day, plus some of history’s most heinous events into their lyrics, TF have launched the current album, the purposely spelt, ’amaConda’; cryptically refusing to elaborate further, except to say it’s unrelated to snakes and connected with the teaser video clip, of the title track, released towards the end of 2023. ‘amaConda’ is their 4th album and live shows have bypassed 100. ‘amaConda’ is a DIY release.
Connect And Divide – Very spacey, sci-fi intro. Then into a heavy, crunchy refrain. Unusual vocal style. Mixed melodies. Quite a combo of sounds and stylistics. A very AIC-esque grunge/stoner bridge. A real variety going on, here. Generally, down-toned arrangements. Grungy fade-out.
Totalibertarian – Deep stoner opening, with plenty of bass. Vocals as deep as the accompaniments. Again, it’s very much an AIC sound-alike. Segueing, into a slightly fluid approach, within the grunge/stoner emphasis. Some very laid-back looseness; keeping that aspect accessible. A fairly spooky sound, bridging. Drums livening it up, a bit. Some very effective, blunted drum hits, taking it on. Very colourful rainbow riff solo, just before the ending grunge vocals.
Not In Our Name – Great electrifying intro riff. Into a fuzzy funk refrain. That AIC-esque echo joins it. Keeping it mainly low toned, with some higher pitched riffage taking over, in places. Adding some gruff whispers. As before, it’s mainly stoner/grunge, stylistically. Definitive ending.
Filling The Hollow – An attractive, dark steel string opening. This is where the feeling hits). Sensual grooves fill the melodies, with palpable emotion. As before, it’s very AIC-esque, with a very comfortable rhythm. Staying consistently slow-paced, with the most exquisite intensity, so far. There’s real beauty within this track. Deliciously stoner/grunge-fuelled, right up to the line).
amaConda – Tech riffs open, onto a faster rhythmic audio-scape. Again, that AIC influence is noticeably strong. It works very well, it has to be said. Lots of melody, throughout. Sustained heaviness. Bass kicking in, at 3:43, added to which, those physically palpable percussive scales work surprisingly well; creating a very intriguing, skiffle-board effect. Continuing on, with loads of atmosphere and a whole heap of heaviness.
Andy’s Fall – Back to a heavy, deep-set steel string intro, with brief, quiescent background vocals. Moving into full volume vocals and a curiously complex beat. Into a fuller sound, with a bigger melody. Solidly stoner/grunge, all the way. Plenty of passion and a confident drive. Just a very comfortable listen; fading out in well measured tones.
Embarrassment Now – A quick intro rhythm, now; pluckily delivered. Easy to get into. Well placed male/female vocal duet; effectively worked. Once more, it’s deeply resonant of AIC and it’s done very well. Just another pleasantly laid-back listen. Some very meaty riffage in here and that wobble section, towards the end hits just the right tone. Cosy echo, closing.
A Deeper Advantage – Easy rhythmic flow, intro’ing. Once again, AIC springs immediately to mind. A very interesting drum deviation, at the bridge, into warrior tribal beats; segueing back into previous drum patterns and throwing in a very Cobain-esque scream vocal, just before the final beats.
Into That Darkness – Diverting, into an 80’s synth pop rock flavour, now, with a slow stoner/grunge hint, within the bass. Then taking things back into AIC territory. Here’s where the clearest light and dark combo features. Intelligently combined; effecting a really intriguing outcome, blurring multiple sounds, into one. Drums strengthening, just before the 5 min mark. A spoken word section adds drama and mystery. Nifty riffage and compelling rhythms bring it to an end, alongside the final unnerving lyrics, uttered in a very Prince-esque tone.
Phantom In My Head – Tight, funky riffs intro, in a very easy rhythm. Bass tones entering early. Deep vocals; still AIC-esque, but still pulling it off well. Certainly plenty of tasty melody, executed in a very flavoursome way. Playing around with the pace, briefly. Always sustaining that stoner/groove emphasis. Yielding, to a quietly melting riff solo, at the bridge, with a watery sound soon accompanying, adding more magic to the effect. Heaviness returning; continuing on, in a very catchy, accessible pace. Returning to the water sounds, fading.
Fly – Calm, acoustic tones open. Smooth release, into relaxed refrains. It’s very vocally AIC-esque, still, but instrumentally, different, offering more versatility. Your spirit plunges, with that lowering tone, in the deepest, most freeing way. Suddenly soaring upwards, with that lively, zingy riff section). Back into full on AIC-esque stoner/grunge world, with that vocal return. Such a lightening of spirit effect, coming just before the finale.
Overall – It’s so satisfying to find albums such as this, which surpass all your expectations). Proving itself way better than its random sound ingredients might suggest, ‘amaConda’ goes beyond a one dimensional approach, yet fits its zen moniker, perfectly. Whilst it may sound like a carbon copy of AIC, that sound’s re-created so well that it doesn’t matter and it’s too enjoyable to fault that issue. Especially since there are clear original touches and twists, scattered throughout. Ultimately, ‘amaConda’ features strong heart and soul, with a powerful pull. If you’re looking for a wind down album, both accessibly melodic and comfortably familiar, you can’t go much better than this.
9/10 *********
For fans of AIC, Nirvana, The Smashing Pumpkins, Stone Temple Pilots, QOTSA, COC, Down.
Melodic metal band, Pandora’s Key introduce their debut album, ‘Yet I Remain’, out now, as a DIY release.
Formed in Dutch city, Breda, in 2016, their debut EP, ‘Prometheus Promise’ landed in 2017.
Incorporating blends of mythical and modern lyrical content, their material is hooky and upbeat, yet complex and shadowed.
‘YIR’ is the outcome of COVID restrictions, enabling greater evolution and more powerful sounds. The launch show took place in Breda, back in January.
PK are a 6 piece band.
1779 – A gothic organ plays, amidst a storm and funeral bells clanging, in the night. A neighing, galloping horse features, while a Celtic folk melody overtakes, with sinister underlying tones. A creaking door and choirs add depth and layers to the sound. Ending on a sudden, intriguing melodic lift.
De Bockereyder – Heavy metallic intro. Right into the fray). Fast, catchy rhythms and winning melodies. Spoken word section, before moving into melodic vocals. Good male:female ratio, fitting the choral sections well. Growing growlier, at the bridge, while retaining the melody. Good, hooky beats. Darkly evocative, through the lyrics. Very decent riffage. Closing on a combined vocal, with audible fret slide.
Ariadne – Fresh, breathy drum hits open. Straight into a meaty refrain. More gothic organ sounds, operatic vocals and growls. Strong vocals, though they could just be a bit clearer. Pitter-patter raindrop-like piano adds poignancy to the suddenly stronger vocals, at the bridge. Riffs overtake, just building on that emotion, before the vocals return, with added growls, alongside the melodic leads. Great momentum; sustained till the end.
Freedom’s Call – Banging intro thrust! Heavily percussive, with great intensity. Operatic vocals lend beauty; offset by the deeper growls. Strong vocal pairing. Very effective drumming, providing a powerful percussive backdrop. The song soars, but again, there are times when the vocals become obscured, though they do remain strong.
Falls The Shadow – Cymbal hits intro, with a huge crash of energy! Immediately rapid rhythms briefly emerge, but are then overtaken, by a dipping mood, within the tones. It doesn’t stay down for long, though). Everything soars, just before the bridge; racing on, from there. Bleakness hits, momentarily, then that real intensity hits, once more, till the end. Very dramatic stuff.
The Keening – Slow darkness opens, via the piano melody, with haunting background whispers. Merging into melodies; a beautiful sound emerges. Sudden crashing action implodes the atmosphere. Becoming a hugely percussive storm. The vocals lead, towards the bridge, though the accompaniments sound a bit fuzzy, at times. A very theatrical section hits, just after the bridge; injecting more meat. Those background screams are suitably haunting. Blurring, into a sophisticated blend of vocal melody, sombre piano and crushingly heavy accompaniments. The final vocal line hits just the right heightened tone).
Kindling Ire – Instant metal might)! Impacting drums and big growly vocals set the tone, straight away. A real stomping feel to this. Alternating speed, style and tempo, featuring sparser vocal lines and more instrumentals, with the monster growls at the heart. Heavy drum hits begin and end it.
The Flying Dutchman – Powerful, clear vocal intro! Beautiful folky strings bring out the melody. Here, the growls are present, within the sound, but it’s the leads which step forward, now. This arrangement really gives them a chance to shine and they do. The string section continues, adding so much more vibrancy, light and life. This is the best production sound, yet. Good clear fade-out.
Icarus – Sudden diversion, into space exploration voice-overs, luckily giving way, to high toned melodies. Now, the vocals are even stronger. It’s a strong structure, altogether. Great rushing pace, providing the catch and drive. Loving that riff spin, in the latter half). That’s a big key to the frantic execution. Drums adding more power, as with the cymbals, right till the end.
Per Ardua – Crashing drum opening, leading into a deep dive, into electronica; woodwind accompaniments lurking, in the background, briefly, before the lead vocals overtake. A real heaviness to the drums. Vocals strengthening, with the accompaniments joining, in thunderous statement. That beat’s the perfect physicality; contrasting with the more quiescent sections. Once again, a driving force emerges; offset by the punctuating percussion. Vocals palpably conveying the solar plexus source of their energy. Closing on a beautifully melodic fusion of leads and chorals.
Overall – A largely excellent and driven album, with many powerful features, ‘Yet I Remain’ is an intriguing fusion of sounds; including symphonic, orchestral, metallic and folky ethereal. It bravely ventures into alternate territories, with adventurous spirit. Only a couple of things just let it down, slightly: the audio production just sounds a bit muffled and fuzzy, in places; obscuring the vocal potential and the sudden stylistic deviations may detract from its accessibility, here and there. It’s generally well conveyed, though and otherwise, ‘YIR’ is an enjoyable and versatile listen).
8/10 ********
For fans of Aonia, Nightwish, Within Temptation, Delain, Epica, Evanescence, Lacuna Coil, Midnattsol.
‘Filth’ is the debut album, from extreme/hard-core metal band, Horrible, engineered at Blackout Studio.
Founded in 2019, the Belgian quintet is formed of members of Pro-Pain, Resistance, Dropdead Chaos, Silver Knife and Killthelogo.
Horrible combines hard-core extremity with aggressive metal, embodied within the evil, maniacal cesspit thrash-fest that is ‘Filth’.
Horrible – A vault opens, spewing forth blackened bilge, with crazed vocals following. Wolf-like guttural sounds rend the air, as neck-wrecking riffs pour down. Slowing the pace, with concrete drumming, towards the end and closing with a final growl.
Allies Of Satan – A slab of evil heaviness opens. An almost inexplicably extreme dose of darkness fills the atmosphere. This truly is a devilish outpouring, with only the merest hint of melody, before the end. If anything’s likely to summon Satan, this is it.
Filth – Opening on a silvery vacuum, then viciously throwing out a world of violence and murderous thrash. Merciless rage emanates from this molten hot concoction of extremity, through which the lyrics aren’t even audible, amidst the blackness.
A Thousand Souls – A few solid drum hits intro, straight onto a bed of nails, laced with poison. Probably the closest approximation of sewer bilge, with extra helpings of violence. Some slowed bass and riffage, around the bridge, while a sound much like a ritual Satanic prayer ceremony spills out. Heaviness is an understatement. A massive understatement!
Dawn – A fantastical sound sequence opens, continuing on, with intriguing, cinematic effects; all of which go unexplained. A brief, but fortunate interlude.
We’ll Rise – Right into a full-pelt metal attack. Here, some marginal melodies enter, executed via lead and backing vocals; surprisingly anthemic. Still chucking out a smorgasbord of death metal content, on a level of heaviness almost unimaginable. Here’s where those hard-core elements come in, most audible at the end.
Blood Maniac – A full on aural assault intro’s. Another indescribably evil hard-core/extreme metal mix. It kicks hard, with an intensity impossible to articulate. Just a full-throttle attack, from beginning to end.
Despicable – Similarly slab-like intro, like a tomb being pushed aside, by the strong man to end all strong men. A sinister echo persists, evoking nightmare-inducing terror. A lightning intense delivery of pure, image-provoking effects.
You Can’t Say No – Brain-tearing steel sounds intro. Rap style lyrics appear, at least offering some minuscule respite from the over-profusion of extremity. Still deeply sinister, though and relentlessly vicious, right up to the final fading beeps.
Overall – They really weren’t kidding, in their descriptions of their sound. Both band and album are perfectly titled. This is some heavy stuff, at a level practically unheard of. It’s extreme, at the very extreme end of the scale. ‘Filth’ will tear your brain tissue to shreds and rip your eardrums out of your head. Only those momentary minimal melodics will save you, from the constant onslaught of murderous intent. In terms of impact, it’s about as affecting as it gets. It’s vicious, with a capital ‘V’. Would I want to hear it again? Not without industrial strength ear defenders and never after dark.
8/10 ********
For fans of Immortal Empire, Def-Con-One, Amon Amarth, Medusa, Iron Monkey, Boltthrower, Disturbed.
Social media links unavailable, at time of writing.
Originating from The Hague’s Rock City, aptly named band, Rocket Fuel deliver their new album, ‘Under The Blades’.
A potent concoction of thrash metal, 90’s punk rock and straight out metallic grooves, RS are full on crowd pullers.
Their meaty metal style’s inspired by bands such as Rise Against, Strung Out, Bullet For My Valentine, Killswitch Engage, Disturbed and Pantera.
Receiving tons of radio airplay, overseas, plus a chance to perform at Punk Rock Paradise 2020, RF have played numerous live shows, to date.
A boldly expressive band, RF offer big, memorably catchy songs.
‘UTB’ follows 2019’s ‘Too Big Too Early’ EP and YouTube videos, ‘Too Far Gone’ and ‘Crossing Over’.
So Long – A strangely horror-like intro, with extreme vocals following. Frenetic thrash riffs and a more melodic vocal section. Decent enough rhythms, though it’s definitely more melo-death than thrash. Some alt metal sections in there. Group backing vocals, here and there. Not much originality, it has to be said. Standard melo-death ending.
Rise To Fall – Drum rolls open. Stepping up the melody, a bit. Slight rhythmic confusion and inconsistency, in places, but adequate melodies. Building up the rhythms, from the bridge. Adding in more group backing vocals. Again, it’s a very decent performance, but not very original and quite derivative.
Pull The Pin – Strong riff opening, delivered with a lot of fire. Into a very similar thrash/alt metal sound to before. Good sound quality. Nothing very notably unique, but well executed. Cymbals a bit more involved, after the bridge and a building riff solo. More than skilful musicianship. It’s just so derivative, though.
Head First – Powerful intro. Vocals hitting earlier. Effective call and response. Melding melo-death vocals. Strong rhythms. Nothing to differentiate it from other tracks. Certainly enough melody. It just doesn’t strike that note. Smooth fade-out.
Dead End Street – Good, confident drum hit intro. Vocal melodies follow. The duet works. Curious nostalgic lyrics. Death vocals enter, at the bridge, followed by some spacey, sci-fi tones, before returning to melodic content. Good vocal combo of extremity and melody.
Safe – Jarring sound effects open. Then into a standard melo-death/alt metal section. Actually, it’s softer than average, in places, but the aggression’s interspersed. Strong drumming. Again, the audio quality’s impressive. It’s just a bit boring.
The Storm – Into another typical melo-death opening. As with the rest, the powerful audio’s probably its biggest draw. No quarrel with the technical ability. The drums are particularly prominent, here. That’s a very decent riff solo, just past the bridge. Standard structures and another average fade-out.
Room 1.01 – Thriller-esque narratives intro, with riffs and vocal melodies following. Once again, the production values are high and the proficiency more than capable. There are just no USP’s and no real discernible deviation from the average melo-death track.
Overall – The positives here are the musical and technical proficiency and the high level of production standards. However, ‘UTB’ sadly fails to make its mark; coming across as samey and indiscernible from any other alt/melo-death album. USP’s are absent and it’s generally derivative. No noticeable hooks and just a bit tedious.
5/10 *****
For fans of Death Blooms, generic melo-death and alt metal.
Belgian melodic metal band, Dyscordia bring you their current album, ‘The Road To Oblivion’, released in March. ‘TRTO’ is their 4th album.
Composed of ex-members of Gwyllion, Double Diamond, Artrach, Anesthesy, Impedigon and Rhymes Of Destruction, their debut EP (‘Reveries’) landed in 2010. Live slots, supporting high-profile bands, such as Primal Fear, ReVamp, Ensiferum, Alestorm and At Vance followed.
Much media acclaim and appearances at festivals, including PPM, Dokk’ em Open Air and Graspop Metal Meeting followed on from their debut album, ‘Twin Symbiosis’ (2013).
‘TS’, 2nd album, ‘Words In Ruin’ (2016, recorded, 2015) and 2019 3rd album, ‘Delete/Rewrite’, were all recorded, produced and engineered by Jens Bogren (Opeth, Paradise Lost, Katatonia) and Tony Lindgren, at Fascination Street Studios, Sweden.
‘WRI’s release show rapidly sold out. Live Festival features, including Alcatraz Metal Fest and 2016’s Summerbreeze Open Air brought them to global attention.
2019’s ‘D/R’ got the band a slot, supporting Doro, on their 2020 European tour. COVID unfortunately halted that plan. A change of drummer, in late 2022 was then followed by Dyscordia returning home.
New track, ‘Hell’ arrived in 2023, featured on ‘TRTO’, launched this year.
The Passenger – An unexpectedly ambient intro sound; injecting curiosity, before segueing, into a hauntingly metallic refrain. The Ozzy-esque vocals are too far back, but the accompaniments work well. It’s a bit of a swooshy production sound, but the heaviness is clearly inherent. Coming to the fore, 3 mins in, before returning, to the slightly less swooshy sound. Lots of metal energy. Those vocals just need to come forward. Their strength’s there. It just needs greater projection.
Hell – Similar swoosh, but this time, it opens straight onto the main refrain. Suddenly becoming quite Cooper-esque, vocally and lyrically. Still, that swooshy audio continues, but at least now, the vocals are clearer. They still need more power, though. Decent enough melodies and plenty of development potential, there. A noticeable catchy hook, within the latter riff melodies. That audio swooshing’s just distracting from the message and intensity of the song, though. Clearer fade-out.
Oblivion – Gentle steel string intro, with a beautiful melodic refrain. Here, the sound quality improves, though there are still clear hints of that swooshing, in places. Breaking down, into a faster rhythm, vocalised via a group effort. A stronger sense to this, but still, that swooshing invades. A well-placed, effective choral section adds to the energy. Riffs getting their chance to shine, just before the 4 min mark, with that solo. 4.33 sees a strong collective, Viking-esque vocal enter. Again, it just needs to shed that swooshiness. Good echoic vocal close.
Interlude – Good, energetic drum intro! This is better sound quality. Very active drum fills, boosting the energy. Bringing it up and down, sporadically. A very strong sense of experimentalism, here. A pure instrumental, with a rapid rhythm and a lot of percussive power. Introi’ng a new sound, at approximately 3:10, with a sophisticated edge. Leaning into an unpredictable and slightly psychedelic pattern, from there and ending on a final drum hit.
Endgame – Straight in, with a very typical metal refrain. That drumming backdrop lends it strength, with the bass adding to the depth of the effect. As before, the vocals are still too far back, but their passion’s obvious. Bass more prominent, from 2 mins in. It’s clear those metal vocals have a lot to offer. They just need more forward prominence. Great riffage and rhythmic sustain. Well-placed choirs, towards the end.
Toxic Rain – Very fitting, rain-like rhythmic melodies open. Moving into a heavier, more extreme segment. Now, the vocals are louder). Briefly, anyway. Returning to previous form kills the effect. There’s a dire need for boosted vocal levels. A decent, crunchy drum and riff bridge, moving, fluidly, into a smooth refrain. That vocal energy’s screaming to escape. It needs to do so. Ending on an explosive blast.
The Demons Bite – Moving in, with a vacuum of sound and a fun strummed chord, supported by a heavier, steel string riff. That Ozzy-esque vocal returns, with pizzazz and it’s got real pull, but once again, it’s too low and needs turning up. The melody works and it’s well delivered. The vocal level just needs to match that of the accompaniments. This is a sound likely to be popular, for its heavy, upbeat sound and Ozzy-esque effect.
Infinite Fantasy – Great clearer riff intro, moving, swiftly, into a very fantasy-style atmosphere). Vocals delivering that edgy feature, once more, but that same problem remains, with their lack of volume. Good strong accompanying melodic heaviness. Unfortunately, the swooshing’s returned; ruining the effect, somewhat. It’s still an enjoyable sound, with a good strong backbeat. The audio just needs smoothing out and its consistency enhanced. There’s a lot to like about this and ultimately, it’s very much heavy metal. Closing with a whistle, beside the accompaniments, fading out, clearly.
Overall – ‘The Road To Oblivion’ is, essentially, a very decent, enjoyable album, with many traditional metal features. It’s 2 abiding issues, are the almost continuing swooshing sound and the low vocal levels. Cut the swooshing and raise the vocal volume and the quality would instantly match the accompaniments. Otherwise, the melodies are strong and catchy and the arrangements, engaging. Just address the previous points and ‘TRTO’ll be a solid metal album.
8/10 ********
For fans of Ozzy Osbourne, Metallica, Kyrbgrinder, Alice Cooper, Oil, Blakenstein.
‘Clear The Lane’ is the new album offering, from Belgian post-hard-core punk quartet, Adverse 96. Featuring current sounds, with 90’s grunge, ‘CTL’ follows EP’s ‘Anger Ocean Kept Inside’ (2018) and ‘Last Stop Before Terminus’ (2015); both accompanied by YouTube videos, featuring ‘Ghosts From The Past’ and ‘Hell Is Other People’.
‘AOKI’ and ‘LSBT’ are both accessible online, as is ‘CTL’ (out on TBC).
Adverse 96 have won music media acclaim, on Dying Scene (USA), Barricade Punk (Canada), Shoot Me Again (BE), amongst other punk/hard-core webzines.
Folded Paper – Straight into the groove)! Very 90’s stuff, echoing G’N’R’s ‘UYI’ era – especially with the spoken word section. Fiery riffs, fast-paced rhythms, punk vocals, with a slight nu-metal, rap-rock edge. A real anthemic immediacy to the vocal cohesion. Ending on a blunted cymbal hit.
Forevermore – Compressed intro. Moving into the vibe, fluidly. An immediate warmth to the melody. Steady, rhythmic accessibility. Again, there’s a great upbeat festival flavour to this. Lots of chemistry here. Vocal melodies, well worked into the arrangements. Pleasant, clear fade-out.
Dead Angles – Great driving rhythmic opening, with well fitting bass clarity. A quick paced number, with strong Offspring-esque qualities and summery atmosphere. Great steadily paced riffs, just past the bridge. Alternating rhythms, slightly, but always sustaining accessibility. Lots of vocal unity going on, there, again, bringing it to a neat close.
Destinies – Right in there, with a neat follow-up. Strong sense of ease and comfort with their sound. Audio production spot-on, too. Plenty of melody, with powerful anthemic quality. Fantastic fading feedback.
Withdrawn – Another instant hitter and again, it carries that cool 90’s vibe. Good strong atmospherics. Bass coming in, at approximately 1:08, with another strong underlying groove. The passion and enthusiasm’s so clear, within those vocals and the natural flow of the accompaniments. Loads of happy, uplifting melodies and again, bringing that fun 90’s vibe.
Rubin Carter – Immediate warmth in that opening riff. Now, injecting a slightly harder vocal emphasis. Here’s where that hard-core aspect appears. Still keeping it catchy, though. Clean, smooth fade-out.
December – Similar start. A little more drum presence, here. Stacks of vocal union, as before, showcased through those melodies. An easy one to envision, in the live arena. Very well-placed vocal anthems, just before the end.
Confined – Great follow-up, once more. Grabbing attention, instantly, with that group vocal intro. The passion and energy get even clearer, here. Great riff melody, at around 1:35, sporting powerful punk spirit, all rounded off with a definitive end.
Augmented Reality – Driving it into the ground, with a palpably ingrained intro. Ace ticking rhythm, making way for that hugely enthused vocal. More bass foundation, at 1:18. Again, the melody’s loud and clear, throughout. Great to hear that impassioned emotion coming through, in the vocals. Lots more drumming energy, towards the end.
Colours – High pitched riff intro and straight on, into another gathered groove, exuding inviting warmth. Drums really going for it, here, with full force. Loving the melodies. Fading out, with a summery vibe).
Overall – ‘Clear The Lane’ is an instant draw and sustains it, beginning to end. If you want to re-capture that summer festival rock family vibe, then this is the album for you. Solid anthemic catch, engaging melodies and warmth exude from ‘CTL’, even during the hard-core elements. It’s a sound in which connection, enjoyment and passion abound and its audio values are as strong as its performance. What stands out most is the band’s obvious union and cohesion and that’s what hooks you in and embraces you. A truly delightful melodic treat).
10/10 **********
For fans of American Terror, The Offspring, C.S.O.D., Love Stricken Demise, Embrace, Dodgy, Ocean Colour Scene, The Stone Roses, Supertramp, Cast, The Kooks.
Melbourne folk metal meisters, The Incantus now offer up their debut self-titled album; out now, on all streaming and digital sites.
The material found in ‘The Incantus‘ features very sensitive content, stemming from individual life experiences, both positive and negative, with motivational sources ultimately winning out. It also expands its themes, into more externalised territory; specifically, societal control and the need for self-liberation.
Since completing the line-up, the band has found its place and voice.
Horror – Opening with deeply sinister spoken word content. Very darkly horror film-esque, so fitting its title, convincingly. Luckily, riff melodies overtake, in a very expansive format, coupled with fulsomely heavy drum beats. Fading, to quieter chords. Leaving an ominous atmosphere, in its wake.
Sidhe Of The Barrow – Immensely powerful intro riff, of epic proportions! Invigorating drum hits, with blackened vocals following. Placing a whole new spin on the narrative many know as a gentle, light fae folk derivation. Make no mistake, this is sharp, extreme and visceral, to the point of evisceration. Exceptionally good production standard, if a little too pointed, for some tastes. Certainly not the kind of sound usually associated with tracks of this nature, but it’s acute and it doesn’t hold back. About as raw as it gets, in extreme metal terms, though may be likely to divide opinion, in terms of lyrical thematic content. One thing’s certain – it’s a razor blade delivery, you can’t fail to be struck by and imaginatively sliced up by.
Protraction Of Night – Heavy impact drum roll intro. A very sharply delivered blackened vocal. Equal riff acuity. Pressured pace, throughout, even in the marginally slower final section. Just a very extreme track.
From Where I Hold The Sky – Full force steel intro. Huge drum focus, again. Deeper and still extreme vocals. Same sharp delivery as before. Some nifty wah and tremolo, towards the bridge, followed with a military style marching beat. This is a track that means war. Very coarsened vocals, executed with sustained extremity. Merciless heavy drumming force. Fading, to creepy sound effects.
By The Light Of Burning Bridges – Opening on a vacuum of sound, instantly followed by vocal extremity. Tearing impact. Darkness surrounds it, while light emerges from the edges. Expanding the riffs, at the end.
Goddess Ablaze – A much more peaceful intro echo, just before the hard-core steel edge hits, again. A very involved darkness suffuses this, cloak-like. Again, the vocal extremity’s relentless. Sharpened riffs dominate, with screaming melodies. Carefully placed touch of wah, before monster death growls appear. Fading darkly.
They Wait For Me – Massively electrifying riff opening. Setting the pace, instantly. Blackened growls follow. Very acute, continuing with full flow force. Lots of vocal emphasis. Drums kicking in, ¾ in, with notable impact. Very warrior-esque focus. Effective fade.
The Fray – A fluid, deeply steel riff intro, hinting at a possibly quieter track, but soon disabusing you of that notion. Heaviness building, with pounding drums. Steel string tones form the bridge, injecting more melody. Just a very serrated sound, with unstoppable force.
Wintersmith – Opening on an enjoyably melodic and palpable steel string refrain. Monster growls return. Tastefully sharp riffs add to the edge. Some real emphasis on that riff acuity, tempered with the pounding drum heaviness. It’s a very physical track, adding more weight, with the clanking mechanics. Concrete heavy fade-out.
Gallowbraids Of Greed Gold – Another heavily dark intro; now delivered via a simple riff solo, with an accompanying swirling surrounding storm. Into really extreme territory, with a full effect floor-shaking accompaniment. Upping the stakes, once more, in vocal terms; this time, blending tearing extremity, with deeper growls. Full force cloak of darkness, saturated by rage. Proper warrior drum beats, once again, marching into battle. Even a funereal hint in here, echoing through those strains. Fading to fluid solitary steel strings.
Quiescence – Living up to its title, here’s a much lighter, though still sombre emphasis. Beautifully and dexterously delivered classical acoustic tones, in a pure instrumental, featuring rhythmic lightness, in the background.
Overall – ‘The Incantus’ is amongst the heaviest, most forceful extreme metal albums you’ll hear. Whilst the level of sheer, ear and brain-shredding extremity may not be everyone’s go-to material, it’s undeniably affecting, in the physical force of its impact. As dark as claimed, with excellent production quality, ‘TI’ will hit you, hard, in the solar plexus, like a speeding, crashing freight train.
10/10 **********
For fans of Carcass, Amon Amarth, Skreamer, Iron Monkey, Arch Enemy, Skeletonwitch, Nidhoeggr.
Welcome to ‘Destiny Calling’, stunning debut album, from Knightfall; sensational new symphonic power metal/80’s fusion band.
Delivering epic metal, on a scale comparable only with the best of the genre, such as influences, Nightwish, Delain and Battle Beast; Knightfall bring their own spin on those sounds, whilst paying homage to the originators.
Co-mingling fantasy and historical aspects, ‘DC’ offers everything from anthemic hooks, to war cries and solemnity, right through to energised grooves.
A star-packed line-up of global talent illuminates the central communal thrust of Knightfall, played out in every track.
Out now, in digital and physical formats.
Children Of Time – Opening with a few mechanical clanks, before yielding, to a heavy symphonic refrain. Speed/power metal riffs follow. Feminine vocals move between operatic and metallic, delivering fantasy folklore lyrics. Very strong performance, featuring magical effects, alongside metal orchestral accompaniments. Great collective effort, with a brief masculine roar, at the end.
War Cries – Steady, but powerful choral intro. Cymbal shimmers precede tribal warrior drum beats. Intriguing narratives. Sharper vocals interweave with smoother ones. Fuller male and female choirs unite, from the bridge, before that perfectly held lead vocal tone. A big drum presence builds a stronger atmosphere, with the chanting lyrics. All very cohesive, ending on a lead solo, with backing chants fading into the background.
Remember My Name – Delicate keys open, in a spiralling pitter-patter pattern. Into an active vocal, with notable cinematic vibes. Very melodic sounds. Male vocals joining the female leads, adding to the power. Very fantasy-style lyrics. Sustaining the melody well. Equal vocal balance. Ending on a final riff and some warrior chants.
The Hero Walks Alone – A powerful drum beat opens, with the lead vocals. Into a mid-paced rhythm. Again, the masculine and feminine elements play equal parts. Beautifully projected operatic segments. Strong epic flavours permeate this track. Adding some blackened roars, for good measure. Good strong drum outro).
Waiting For You – Poignant keys and riffage intro, with a powerful anthemic sound; heavily ingrained, by those drum hits. A very cinematic theme, along with huge 80’s melodies. Male vocals take the lead, here and they’re just as immense and massively melodic. This just screams passion and sincerity and it’s possibly the stand-out track. The vocals just soar, all the way and there’s something very Rocky-esque about this track. That sleekly executed riffage seals it.
Destiny Calling – Synths intro, joined by orchestral accompaniments and crashing drum beats. An effective combo of vocal layers, featuring a very decent call and response. As before, it lends those varied styles, so skilfully. Rising higher and swooping lower, with consummate ease. Closing on a final vocal peak and drum roll.
The Musketeer – Explosive intro! Right into a curious, but extremely workable combo of pop-rock and heavy symphonics. Again, those magnificent male vocals lead and once more, there’s a huge 80’s atmosphere screaming through this melody. A backing choir just strengthens it, further. Ending on a blast of drums.
Raise Your Fist – Straight into a strong fantasy cinematic vibe. Not a second wasted. Such passion’s thrown into those vocals. Once again, that combo of leads, backing choirs and epic instrumentals creates a massively dramatic effect. The title alone lends it a real anthemic concept, only boosted, by the sound. Racing to a screaming halt.
Starfall – Opening on a more poignant, but no less affecting tone. Into its stride, with that chasing sonic rhythm. Such power in those vocals and so much melodic might. Just a huge sound and impact. The light, but noticeable vocal layering works a treat. Hitting those heights, with absolute perfection. Brilliant ending riff and vocal union.
Farewell – Slightly sombre intro, with a notably melancholic tone. Still skilfully handled. Just a change of mood. Beautifully performed and those heightened pitches are so impressively tackled. A spoken word section arrives, just before the bridge. Yielding, to an instrumental section, before vocals return. Delightful melodies, lifting the mood, accompanied by equally epic riffs. The spoken narrative returns, just before the end, giving way, to a final sung vocal and gentle piano tinkle. Exquisite.
Invincible – Hugely dramatic intro! That just crashes over you. Here resides an evocative blend of darkness and light. It’s more sonically metallic and symphonic, but certainly still as affective. Loaded with melody and meaningful lyrics, once again. Fabulous scream and fade-out.
Starfall (Single Version) – Opening on deeper tones, while still exhibiting the same warmth. Heavy drum hits take it on to the next section. Those vocals continue to impress, with their stamina and symphonic skill. Really melodic, again and it shares that cinematic atmosphere, shared by the other tracks. There’s a really catchy hook to this, solidified by the fast-paced riffage. Taking it to a perfect end.
Overall – An idyllic album, with stacks of appeal, ‘Destiny Calling’ boasts a lot of exceptional skill and feel for the genre. Sharing so much with the most renowned epic bands in the symphonic arena, it’s near impossible to tell them apart. Featuring a host of incredible talents, ‘DC’ is an essential listen, for 2024.
10/10 **********
For fans of Epica, Lacuna Coil, Within Temptation, Nightwish, Evanescence, Aonia, Midnattsol, Glitzy Glow, Delain, Sonata Arctica.
Enter the metallically enchanted realms of Savage Wizdom, with their newly released 3rd album, ‘Who’s Laughing Now’.
The American melodic fantasy metal band was founded in 2005, by ex-Prowler vocalist, Steve Montoya. Their mission to bring power infused, anthemic metal to fans has never wavered.
Their debut album, ‘No Time For Mercy’ hit in 2007 and a freshly energised approach emerged, in 2008.
2014 saw the band launch their 2nd album, ‘A New Beginning’.
They’ve performed alongside such high-profile bands as Dokken, Skid Row and Stryper.
‘WLN’ takes audiences further into the depths of imagination and revelation, via epic riffs and dramatic melodies.
Comparatively akin to Helloween, Manowar and Iron Maiden, ‘WLN’ transcends perceived genre limitations, taking another step upwards.
The End Of The Road – A classic metal storm intro’s, accompanied by sinister sound effects and thriller-esque dialogue. Melodic, G’N’R’-esque vocals overtake, before a speeding car closes, with a couple of ominous bangs.
Life On The Run – Banging opening, with plenty of drum impact. Less tuneful than expected, but quite a traditional 90’s atmosphere. Plenty of effective riffage. Drums getting louder, followed by more typically modern metal riff tones. A little bit of vocal grit creeps in, 3/4 in, just before the intensity builds. Ending with a powerful storm.
Need To Soar (Featuring Henry Basse) – Straight in, with some good melodic riffage and drumming. Here, the vocals are more tuneful. This is a very standard fantasy metal trip. Lots of central melody and certainly a very capable delivery. Vocals soaring, towards the end, with an energised edge. Very Silent Winter-esque. Ending on a final riff and bass note.
Ruins Of Tongura – Sliding in there, at the start, with some smooth riffage, leading into a mid-paced arrangement. Vocals just slightly off key, in places, but generally accurate and again, there’s that Rose-esque sound, here and there. Specifically, it’s quite resonant of G’N’R’s ‘UYI’ era. Bass line hitting, just before the bridge. Picking up the speed, from there; sustaining the melody. It’s definitely energised. There are some strange vocal contrasts, but perhaps that’s intended, to add to the mystery. Some very proficient closing drum rolls.
Blayden’s Conquest – Smooth riff and bass intro, bringing a little more depth. Something slightly magical about this, evoking magic act visuals, before the tangy vocal sections hit. They could be more melodic, but the sound levels are decent. The narrative’s a little bit more accessible, at times. No faulting the riff melodies, as is so often the case. They add a wizard-like sense to the song, sporadically; speeding up, 3/4 in. Just a tad more lyrical conviction, towards the end. Closing on a typical metallic phrase.
Dark Horizon – Great sensuous riff intro, bolstered by the drums! This is where the comfort zone appears). Speeding faster, with plausible confidence and assuredness. Audible vocal projection, upping the volume and emphasis. Backing vocals add a clearer anthemic flavour. Bass bolder, at the bridge. Spoken narration follows. Apt melodies expand, into a bigger sound and visual. Liking the piercing riff tones, from there). Evolving, into typically fantasy territory. Drums giving it the edge, immediately before the final string and key section.
Dances – Drum hits open, onto a light filled audio-scape. Riffs join, with standard metal vocal calls. Anthemic status clear and present. Some very decent catchy grooves in there, too. Liking the angelic lyrical content. A lot of bass in here and plenty of colourful riff melodies. Building the intensity, after the bridge. Vocals suddenly dipping and diving, deeper, joined by higher backing voices. Smooth fade-out.
Who’s Laughing Now – Sultry, sleaze riff opening. Sliding into it and speeding it up, into a very percussive accompaniment. Again, there’s that tangy sound to the lead vocals. The backing vocals add a bit more balance, though. Melodically, it’s sound. Same can be said for the levels. Intriguing scale drop, around the bridge. Taking it up, past that point, to higher, louder ground. Bass suddenly peeking in, at around 4:29. Speeding riffage, driving it on, bolstered by the joined vocal effort, closing with the final riff tone.
Revenge For A King – Good smooth intro riff, matched by the drums. Effortless scream, following. Good melodic energy. Some very effective structures. Accessible rhythms. Energised riffage, as before. Drum rhythms adding a hint of stoner groove, after the 5 min mark. 6 mins in, the background cacophony hits, complete with mediaeval fantasy visuals. Vocals rising, from there and peeking, just past the 7 min point. Speeding up, with feeling, right to the end.
The Wreck Of The Titan – A sound of shorelines and oars, moving through the water opens, with a very folky vocal. Deep and intriguing. Very clear lyrical narratives. Well measured drum rhythms. Very Maiden-esque riffs. Building it up, into a classic melodic metal refrain. Audible vocal conviction. Again, the dual effort adds greater energy. This one rushes on, with obvious passion and drive. A touch of tremolo, 7 mins in adds a new dimension. Melody growing, from there. Very effective bass tone, at 8 mins, just underlining that depth. Gathering riff energy, from 9 mins on, once again, building it up, to a very Maiden-esque sound. Here, the vocal tones peak. Good riff cohesion and compression. Ending on a return to lyrical narratives and moving water lines.
Overall – The main message within ‘WLN’ is that it is what it says it is, i.e. a standard melodic fantasy metal package. The thing it’s missing is any USP’s, or individual signature markers. Also, it’s just a bit too lengthy, which would be ameliorated by diversifying the tracks and adding some memorability. As far as general sound quality and performance go, it’s without issue and enjoyable enough, melodically. It just needs some differentiating features, to boost its appeal.
7/10 *******
For fans of Iron Maiden, Ice Sword, Ice War, Silent Winter, High Priest, Mourn The Light, Archdruid, Ice Howl.
Swedish heavy thrash metal band, Ataraxia present their debut album, ‘Torments Of Reality’, featuring themes of global current affairs, of varying magnitudes.
Founded in 2023, they’re now a fully formed quartet.
Torments Of Reality – An obligatory cold breeze intro’s, quickly followed by heavy, deep-set drum beats, lots of bass and a clear Sabbath-esque atmosphere.
Divorced By Itself – A single heavy drum beat opens, with a classic speed refrain hot on its heels. A very moshable one, with a slight Motorhead-esque vocal vibe. Just a little bit monotone, in places, but it’s mainly well arranged, with plenty of melody. That guitar break, ¾ in seals the deal, for this track, continuing to climb up the scales, before a quick return to form, with the deeper bass tones and a very decent closing crescendo.
1984 – An even heavier and distinctly Sabbath-esque intro, with a lot of doom! Into a consistently doom-flavoured refrain. Very crunchy delivery. Again, the gritty vocals are quite Lemmy-esque. They could just do with a bit more power and volume. Speeding up, just before the 3 min mark. Sustaining the heaviness. Good basic rhythmic structure. Steadily alternating the rhythm, here and there and throwing in another colourful riff solo, towards the end. Hitting the peaks, easily. Bringing that thunderous drum tone back, at the end. Very well paced track.
Codex: Failure – Dropping it down, to an intriguingly low-toned steel string entrance, now. Then, lifting it up, collectively. Good move, in variability terms. Speeding up and peppering the air with mini bomb-blast drum hits. Building it up, to a catchy pace. Chugging along, with that heavy emphasis. Lots of good melody. Well sustained rhythms. Going great guns, on that colourful riff melody. Keeping that catchy chorus. Neatly delivered ending.
Blacklist The Residents – Starting out with an airy feel to the drums. Giving it breathing space, at the outset. Reaching its stride, steadily. Again, well paced rhythms. As before, those vocals just need a bit more prominence and slightly more tonal variation. Cymbal hits enter, at 3.55. Good rhythmic consistency, again. Feeling their way in, in just the right way. The contrast of melodic light and shade works well, towards the end. Another good closing crescendo.
The Secrets Within – Bang! Straight in there, with a no-nonsense intro). Now, their confidence is rising). More emphasis to that arrangement and even the vocals are coming forward, now; well assisted, by the anthemic backing vocals. This is reaching classic Motorhead-esque territory. Built around a winning structure, this is bound to make an impact; especially live. Bass lines making themselves heard, at 3.55, just before the riff solo, throwing in some more colour. Growing heavier, towards the end, with a real percussive emphasis. Sliding into the end.
Torn Away – Heaviest drum intro yet! Now this really does hit hard. Playing with that melody, with clear enjoyment. Vocals stronger and clearer. The passion’s coming across, in that bolder sound. Quiescent bridging strains make their mark, emphasising the following sound, all the more. You feel the faster section, palpably. Riffs rising and lifting the atmosphere. Striking the perfect note, with yet another impressive crescendo ending.
Race To Death – Hard-hitting opening, with classic heavy metal style and execution. Here, the vocals are stronger, again and the rhythm packs a punch. That bridging exclamation adds a perfect point. Intensifying the drum rolls, after that point and speeding up the riffage. Changing direction, to a slanted position, just before the end and then fading out, smoothly.
Overall – Really good shot, for a debut, ‘Torments Of Reality’ gets a lot of things right and has much to commend it. Whilst the vocals do just need more volume and prominence, generally, they do come forward more, in the last couple of tracks, in which the backing vocals enhance them, further. The essential crux of ‘TOR’ is the steady, consistent rhythms and it’s good to hear the band finding their feet, through that steadily paced foundation. Loads of potential, here, with a strong featured grasp of the basic elements of classic heavy metal.
7/10 *******
For fans of Motorhead, Black Sabbath, Oxblood Forge, Mind Patrol, speed metal.
Rock Queen Reviews 
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