Archive for the ‘Uncategorized’ Category

Hitwood – ‘Orrido’   Leave a comment

Introducing new release, ‘Orrido’, from Hitwood, Italian melo-death solo band, featuring guest vocalists. Carlos Timaure guests for this new track, bringing black metal contributions.

Orrido (Lyric video) – An earthquake hits at the intro, featuring its aftermath throughout. Very lyrically dark, in places, depicting themes to which many will relate. Interchangeable images of sepia tinted wreckage and destruction, versus bright, colourful wings. A very expressive track, with very pertinent themes. Throughout the video, the lyrics are inaudible, but always visible. Quite deep instrumentals here, with plenty of bass and an abiding sense of hopelessness. A decent track in the sense of conveying emotions and experiences and a more confident departure from the earlier material. Arguably less melodic and increasingly downbeat, but unsurprising, given the points of focus. Its main need for improvement is in the inaudibility of the vocals, which, despite coming from a black metal angle, are impossible to locate, letting the track down. So musically speaking, a bit mediocre this time, but the point is made.

6/10 ******

For fans of Ordnance.

Released 7th December 2018.


Posted December 14, 2018 by jennytate in Uncategorized

Aftermath – ‘Smash Reset Control’   Leave a comment

Formed in Chicago, in 1985, Aftermath launched their 4 track demo in 1986. Another demo, ‘Killing The Future’, came in 1987.

Developing their own signature brand of speed tech thrash led to them being hailed as a groundbreaking thrash crossover band. This reputation was cemented by the appearance of 2 of their tracks, ‘War For Freedom’ and ‘When Will You Die’, on Metal Force Magazine’s ‘Demolition: Scream Your Brains Out’ compilation, in 1988.

During that same year, there were some additions to the line-up, with some continuing line-up changes through 1989. By then, the band’s sound and techniques had also changed. This was demonstrated by the launch of their new renowned demo, ‘Words That Echo Fear’. Another line-up change followed. From this point, Aftermath became a cutting-edge prog tech thrash band.

Following on from that, 1990 saw Aftermath in talks with Roadracer Records, ending in a live 4 track demo, before transferring to New York’s Big Chief Records. However, BCR folded mid-way through recording sessions, prolonging the release’s completion. Four years later, an album begun in 1990 was self released, with managerial support, via Zoid Recordings.

Some stark alterations to the scene had taken place between 1990 and 1994. By that time, ‘Eyes Of Tomorrow’ had been re-released, via Thermometer Sound Surface/Zoid and then re-re-released in 1998, as a remastered format, through Black Lotus Records.

In a well-publicised legal battle, Aftermath prosecuted world-famous millionaire rap star Dr Dre, for ownership rights to the Aftermath name. The defendant, Interscope Records, signed Aftermath, who soon after, revealed a new release, under the band name, Mother God Moviestar. The electro-metal debut launched in 1998. The case has become infamous, throughout American law schools, in relation to trademark dilution.

Aftermath have gone on to successful acclaim, as a main genre inspiration. Their success has brought them a book feature, (‘A-Z of Thrash Metal’), various high-profile gigs, including California’s Ragnarokr Metal Apocalypse, Hamburg’s ‘Headbangers Open Air, etc, the release of a box set (2011’s ’25 YEARS OF CHAOS’), on Area Death Productions, a vinyl format, ‘When Will You Die’, on F.O.A.D. and a 2015 reissue of ‘EOT’. Launched on Shadow Kingdom Records, featuring bonus contents and an extended booklet, it was re-mastered by Paul Logas (Pantera, Steel Panther), as was their next release, ‘Killing The Future’, re-issued on Divebomb Records. This marked their 30th anniversary.

2017 highlighted a new beginning for Aftermath, as work began on their current 11 track album, ‘There’s Something Wrong’. An original concept album, featuring a traditional crossover thrash, tech/prog combo, ‘TISW’ is a social comment on the faults of modern society. A philosophical call to arms, with an associated lyric video, ‘Smash Reset Control’, accentuated, thematically, by the artistry and chosen colours. A return to form for the band, ‘TISW’ is more thrash and speed based, generally.

The first single, ‘Diethenasia’, is a powerful testament to its themes, with all the drive and merciless aggression to show for it. The linked video (directed by Davo Paul) matches the song’s chaos. Aftermath are a breed apart. Here’s the audio version of ‘Smash Reset Control’.

Smash Reset Control – Unusual space rock style intro, followed by heavy thrashy riffs and a light touch on the drums and cymbals, with a vivid visual pace, creating imagery of some kind of athletic exercise. Morphing into a mainly electro track, with repetitious thrash riffs, which taken alone, with a bit of melody thrown in, might have done the song more justice. The hardly audible lyrics are equally repetitive and add no flavour. The drums actually seem to be struggling to keep up with the pace and it’s all a bit dull, really. Main issue? Obscure, unsuited genres trying to merge with the thrash. It just doesn’t work.

4/10 ****

For fans of space rock, electro, sci-fi metal.


Posted December 11, 2018 by jennytate in Uncategorized

March In Arms – ‘March In Arms’   2 comments

From Sioux Falls, South Dakota, March In Arms now present their reissued self titled debut album, released on November 20th, 2018, on CD, with 2 live bonus tracks. Self defined as ‘thrashy military power metal’, their hard-hitting genre will strike a chord with all fans of heavy, catchy, anthemic, melodic metal.

Inspired by the traditional old school giants, such as Metallica, Iron Maiden, Motorhead, Black Sabbath, Pantera and Judas Priest, MIA is destined to go down a storm.

Procession Of The Dead – Deathly tone intro’s, deeply vocalised lyrics in complete sync with the instrumental mood and a brief, but heavy funereal sound echoes throughout. A fabulously performed tribute to the fallen, likely to ring through your head, for a long time to come.

The Failure – Instant, impacting, immersive blast of drum fire opens. Heavily melodic vocals paint their message onto your brain. Such touching lyrics, perfectly supported by strongly conveyed accompaniments, taking hold of your mind, with compellingly catchy hooks. Increasing the volume and heaviness even more, evoking immediate powerful imagery. Etching the battle scar images onto your mind, with the ritual drum march and air raid sirens, at the end, this is one profound experience.

Firebreather – Introing with a freestyle riff, opening up a landscape of green fields and racing power, this is hit material, for certain. Vibrant, upbeat melody and mood shines through it, in such a life affirming way. Very much a united effort, solidarity screams from this. Just infectious, on a massive scale, loaded with colourful, powered riffs and anthemic vocals, it hits the spot, ending on a definitive riff and drum hit.

Mouth Of The Kracken – Cymbal hits open, giving way to massively hard edged drumming and melodic vocals, meaningful lyrics pouring forth from expertly delivered voices, to a heavily supportive background of accompaniments. A pained scream, aptly placed, tells its own story and yet, there’s always still hope streaming through the instrumentals. Loving that heavy beating rhythm, powering itself through the song, with aplomb. To say this is striking is an understatement. It’s a living, breathing entity, all of its own.

Overlord – A political oration opens, drowned out rapidly, by the blitz of metal, joined by poignant and ever adaptable vocals, reflecting and proving the moment to moment uncertainty, necessitating that same adaptability. The trenchant lyrics, ‘freedom is not free’ will get into your head and eat away at you. Here you can feel and envision the rapid fire artillery, shooting through the riffs and drums, as the battlefield opens before you. Fading out to that same sound, always the same impressive standard prevails, regardless. So much is conveyed through this track and still, the metal lives.

Empty Pleads – Sharp, electric riff intro’s, onto a beautifully punchy melody, searing right into your soul. A powerful narrative characterises this, from the start and it’s one you can’t fail to be touched and affected by. Even the words ‘carry on’ themselves, carry a pertinent message. Highly melodic, filled with high octane, uplifting vibes, even amidst the painful themes. There’s an incredible strength in this track, seeming to speak hope right to your soul. As the piano finale arrives, you’re somehow emotionally drained, yet inexplicably lifted, simultaneously. That’s quite some feat of achievement.

The Knife – Hellishly heavy drum beats intro. A huge vocal strength hits you instantly. Again, the battle scene’s so well depicted, with complete consummate power and physicality, it’s near impossible to transfer that level of palpability into words. It just continues in that same vein, till the ending drum beats, played so heavily as to be audible within your own heartbeat. Incredible.

Ashes – Rapid drumming intro. Impressive stamina of rhythm and pace. A cavalcade of relentless drumming drives this track forward, with the catchy melody and ace sustain. Thrilling fast riffage in there too, conveyed through meaningful arrangements. Those lyrics just cut into you and the fade-out’s simply perfect.

I Am Death – Another powerful drum intro, building a slightly darker tone, taking it up into higher territory, in the most catchy way. Great engaging pace, resembling all the most poignant sections, instrumentally, at all the right times. Throwing out the notes, like weaponry, ending on a final bomb-like drum blast.

To No End – Opening with an electrified riff and some gorgeous vibrato, a breeze of accompaniments setting the scene. Darkly heavy riffage and drumming paints another picture, with plenty of melody, zipping along, on a line of power. Quite an atmospheric number, building the track up, higher and higher, with real feeling, till the end. A serious feast of metallic aggression and pelt.

Firebreather – (bonus live track) – Brilliant live intro, compelling as fuck. This just speeds along and you feel the energy, right along with it. Fantastically atmospheric, it’s a demon of a song and just too catchy for words. You need this track in your life! Breathing life, energy and zest into every frigging note. Absolute metal gold dust. Love it, love it and then some.

Mouth Of The Kracken – Again, freeing up the energy in the room, with a passionately voiced intro. Getting right into it, so you wish you were there, this is pure metalgasm. Pumping up the power, every second, in the most headbanging way, taking you straight to mosher’s paradise. Lively aint the word. Taking it up and bringing it down, with complete accomplished perfection, this is sexy, with a capital S. I defy you not to get into that riff fest. Any metal head knows that feeling when the metal action’s so good, it starts to hurt. I’m there now and it’s glorious.

Overall – Active, energised expression, in a way that drags all your emotions out and spills them onto the floor, this magnificent album is the most metallically real, mind-meltingly passionate piece of genius I’ve heard all year. You need it in your life now. Go buy it. Immediately.

10/10 **********

For fans of Soldierfield, Powervice, Farseer, Anthrax, Saxon, Daniel Trigger, Fahran, Motorhead, all Ozzie’s backing bands, combined.

Posted December 9, 2018 by jennytate in Uncategorized

Logical Terror – ‘Nightmare’   Leave a comment

Logical Terror had been writing music for some time, before hitting the studio in early 2010. Produced by Dualized and Eddy Cavazza, of Dysfunction Production (Fear Factory, Mnemic, Grenouer), their debut, ‘Almost Human’, was released on American label Reality Entertainment (Sybreed, Godhead, WASP), winning them an international digital distribution opportunity.

May 2011 saw ‘AH’ being published in America and on international digital platforms. An extensive promo tour followed. During this time, they played alongside numerous high profile bands, e.g. Sepultura, Arch Enemy, Soilwork, Darkane, Primal Fear, Engel, Mnemic, Raunchy, Destrage, Neosis, Tasters, Empyrios, etc.

In 2016, LT signed to Darktunes/Soulfood and their 2nd album, ‘Ashes Of Fate’ was launched on May 6th. It featured Jon Howard (Threat Signal) and Bjorn Strid (Soilwork), as special guests.

On November 16th, 2018, LT launched their new single, ‘Nightmare’, featured on Spotify’s official ‘New Metal Tracks’ playlist.

Nightmare – A cavalcade of drumming opens onto an industrial grime sound. Happily, it then changes tack, moving into a melodic section, before revealing a pattern alternating between the two. A good variety of textures, tones and arrangements lends it an air of versatility and unpredictability. Definitely heavy, resembling something between techno, melo-death and grime, with industrial overtones and shades of melodic metal. Decent production, accessible, mid-paced rhythm and the track breathes well, in all the right places. For me, it’s missing the catch and memorability of a more consistent rhythm and melody, but on the whole, ‘Nightmare”s a well performed track, with impressive audio values.

8/10 ********

For fans of techno, maths and sci-fi metal, grime, industrial, grind-core, hard-core, melo-death and other sub/crossover genres. (FB) (YouTube)


Posted December 7, 2018 by jennytate in Uncategorized

Marius Danielsen – ‘Legend Of Valley Doom Part 2’   Leave a comment

As of November 30th, 2018, the long-awaited Part 2 of ‘Legend Of Valley Doom’, by Marius Danielsen, is available, via Crime Records.
Following on from the well acclaimed Part 1, voted ‘Album Of The Year 2015’, by Power Metal Cereal Guy’s Facebook fans, in competition with such giants as Blind Guardian and Rhapsody, Part 2 has only taken 3 years to produce, in comparison with 10 years for its predecessor. Forming the next stage of the stunning metal opera, it features several metal titans, led by a spellbinding narrative. Featuring a similar plot to ‘Lord Of The Rings’, with a supreme power metal soundtrack, ‘LOVD – Part 2’ can be pre-ordered from Crime Records web shop. It’s also accessible on all digital platforms on CD and LP. The CD features the bonus tracks, ‘Tower Of Knowledge’, with Vinnie Appice (ex Black Sabbath, DIO and Heaven And Hell) on drums. The LP format is presented as a double 180g black vinyl, with inlay, featuring bonus track, ‘Crystal Mountains’, also featuring Vinnie. Distributed via PlasticHead. Tracks ‘Temple Of The Ancient God’ and ‘Tower Of Knowledge’ are also now available as digital singles.

King Thorgan’s Hymn – Narration intro, amongst a backdrop of rain and powerful atmospherics, before moving into a Baroque, mediaeval style metal section, of beautifully performed vocals, centred around spirited lyrics. A strong fantasy thread’s already present, conveyed very visually, with a low-key theatrical edge and a wonderfully upbeat mood. Very promising.

Rise Of The Dark Empire – Instant strength hits immediately, with this stunning power intro! Getting straight into its stride, the level of highly accomplished craftsmanship’s instantly obvious. This track’s very much featured around power and strength, in numbers. The band of loyal warriors are very much audible. Here, the riffs come forward and speed their way through the track. The panpipes take over, playing a beautiful melody, before the drums gather pounding strength and the riffs melt into your soul. Again, that fantasy element overlays everything so well, showing through the gently insistent closing lyrics.

Gates Of Eunomia – Opening on a more sombre note now, supported by the heartfelt narrative. Here, the vocals really reflect the emotion of the moment. Rising up to the higher registers, it ends, on a group vocal, a little too soon, but otherwise, faultless in its delivery.

Tower Of Knowledge – Following up nicely from ‘GOE’, the fabulous narration continues. Now a solo vocal takes over the story-line, in an extraordinarily beautiful performance. The power rises, with the visuals, as the backing vocals and accompaniments join, in perfect rhythm. Gorgeous melody, such catchily passionate, plausible lyrics just take you right there. Incredible.

Visions Of The Night – Bang! Moving right into it, with a heady drum roll, with no hesitation at all. Soon joined by a choir of powerful voices, the drums speed up, keeping an impressive momentum. As the story unfolds, you feel every shade of emotion and experience. Inspiring lyrics, so visually evocative. The melody brightening all the time. Brilliantly handled drum rolls, so physical, you almost feel his hands wrap around the kit. That choir’s so in sync and the tones and rhythms just hook you right in.

Crystal Mountains – Introing on a darker tone now, sung in a deeper register, followed up by a vibrant, colourful guitar melody. The vocal pitch now grows into a classic, anthemic metal sound. Here, the old school voices are well audible. There’s no escaping the addictive catch. Supremely high octane riffs follow, really bringing out the melody and hand of experience. It’s a very traditional sounding track and you have to love that. Even throwing in some Maiden-esque, ‘Children Of The Damned’ style vocals, at the end, it’s just pure driving power.

By The Dragon’s Breath – Opening on a deep masculine vocal, taking up the story, in a contemplative tone, before that glorious power hits once more. Taking it right back up to heaven again, Blaze’s voice is clear, as is the absolute focus of power and determination that always goes with it. Bringing the song to life, the riffs do the same. Fiddly bit of riffage going on there, for a brief moment, before it’s easily handled and returned to its incessant rhythm. That pumping metal feel is very much in residence. Closing on a deeper, palpable vocal, Blaze finishes it perfectly and emotively as ever.

Under The Silver Moon – Heartfelt piano intro, taking the song into an instantly emotional direction. As everyone sings together, you sense the feeling being poured, wholeheartedly, into the lyrics. It’s a real epic, well depicted. A great piece of fret bending magic going on in there, through which, you can see rainbows of colour exploding. So well narrated, with complete conviction. Ending with the piano gently tapping out those notes, it’s a very warm, sincere track.

Angel Of Light – Massive power metal intro leading the way into the light! An explosive number, filled with melodic catch and high vibrations. A beautiful, enchanting mid-section bridges the dividing sections, followed by an exciting riff fest, fizzing with colour and light. Well worked drum rolls, expertly handled again, adding that edge of power. The choir unites in a touching closing harmony, impossible not to be touched by.

Princess Lariana’s Forest – Opening on a woodwind section, characterising the beauty of the forest. A vocal section of immense courage and strength takes over, depicting the feeling of the moment. Rising magically, in unison, the tones convey so much. An enchanting feminine vocal enters, followed by the masculine, rapidly seguing into a power vocal, carrying the mood and pace of the song, expertly. Very believable lyrics end, split equally, between the feminine and masculine, consolidating everything, leaving a hauntingly ethereal imprint.

Temple Of The Ancient God – Wow! Hugely theatrical aggression intro’s. Again, it’s extremely visual and fills in the colours within each scene, in your mind. A colder, more sinister thread enters, through the riffs and from there, the power just boosts throughout the song, with a very slight directional flow alternation. Scrumptious riff melody, almost regal, in its sound and delivery and it can’t fail to move you. A very cohesive vocal sense to this, growing deeper, towards the end. As the narrator returns, the point of the story is clarified and its motivation fulfilled.

We Stand Together – Following up well, the mood comes through, from the start. There’s a fantastically expressive thread consistent throughout this and it’s so real and emotional. Ending on an immensely powerful vocal harmony, its point is made, sublimely well.

Overall – Definitely worth waiting for. Only one word for it – epic. Given the roster of famous contributions, it couldn’t really be anything else. ‘LOVD – Part 2’ stands out, in a hugely powerful way and the sheer drive and exuberance within it, combined with its magical narrative style and easily accessible visuals make it an exceedingly special and memorable album. The height of operatic metal, stunningly delivered.

10/10 **********

For fans of Aonia, Queen, DIO, Yngwie Malmsteen, Stratovarius, Nightwish, Lacuna Coil, Within Temptation, Delain, Evanescence, Velvet Insane, Steve Vai, Joe Satriani, Shahyd Legacy, Ice Sword.


Posted December 5, 2018 by jennytate in Uncategorized

Blast Bomb – ‘Burn History And Live Today’   Leave a comment

Blast Bomb, from Hamburg, Germany, have already built a fearsome reputation on the live circuit, just 2 releases into their careers. The debut 3 track EP, ‘Born To Lose’, was launched last year, demonstrating their hardened punk rock sound. In the intervening time between then and now, BB have performed alongside Honeymoon Disease, Conan, Monolord, El Colosso and also played support for Grumpynators, at the internationally renowned Berlin-based Fest, ‘Wild At Heart’.

Since then, with their signature sound growing stronger, they’ve now released a follow-up EP, ‘Burn History And Live Today’. Four tracks of rabid rage, with an infectious contagion, influenced by front man Johnny’s determination to leave England and start again, in Germany, prior to BB’s conception.

Recorded by Franz Schedlbauer, at No Moss Studio, ‘BH&LT’ is a powerful testament to BB’s characteristic punk attitude and how vehemently that’s etched into their music.

Burn History And Live Today – Apt blast of an intro! Real in your face stuff, not holding back at all. As claimed, it’s very punky and very raw in its delivery. Even turning the speakers right down, to avoid being deafened has made no difference at all. This is very much in the vein of The Sex Pistols and John Lydon would no doubt relate. It’s instantly clear why Johnny’s the front man, given his obvious display of exuberant, unshakeable confidence. There’s some good riffing in here, coming forward, with immaculate timing. In melodic terms, it has to be said, the vocals aren’t the best, but it’s probably safe to say that punk rock tends to be more about full frontal anarchy than melody. On that score, it works well. Production wise, again, good, but even though it’s punk, it still needs toning down a little. (If only in the interests of listeners eardrums). Standard raucous punk material, only even louder.

7/10 *******

For fans of The Sex Pistols, PiL, C.S.O.D.

Artwork to follow.

Posted December 3, 2018 by jennytate in Uncategorized

RIFFLORD – ‘7 Cremation Ground/Meditation’   Leave a comment

Released on 1st December 2018, on STB Records, ‘7 Cremation Ground/Meditation’, from RIFFLORD, is their 2nd album, following the 2010 debut, ’26 Mean and Heavy’. This current offering is a reflection of life and all its disappointments, also reflecting drug induced violence.

Formed 2007, by the duo Wyatt Bronc Bartlett (vocals/guitar) and Tom Davoux (guitar), RIFFLORD’s circumstances have altered continuously, except for their passion for the music. Currently residing in Sioux Falls, South Dakota, RIFFLORD is a story of trials and compulsion. This album, the voice of hardship and fortune. After 5 mixes and 3 re-masters, it’s finally available, in a choice of personalised options.

7 – Unusual intro. Very folky, bluesy sound, thematically similar to Maiden’s ‘Seventh Son Of A Seventh Son’. Getting heavier, briefly, before reverting back to an acoustic traditional tale of old-style, introing the album title, in part. Intriguing.

Dead Flower Child – Contemplative, initially slightly downbeat intro, then rapidly lifting and soaring upwards, into a vibrant melody. Borrowing a section of Sabbath’s ‘Hand Of Doom’, before running with their own catchy sound of lively energy. Brief, but enlivening.

The Other Side – Wurlitzer intro. Always an interesting touch. Combined with metal vocals and trad metal accompaniments. Circus style lyrics, within the powerfully heavy atmospherics. Some great effortless hard edged blues riffing characterises the track, till the end.

Coyote Fodder – A fitting coyote howl intro’s, onto an anthemic vocal backdrop, amongst light percussion emphasis. Drums heating up, with the vocals, as it rolls along nicely. Classic metal presentation, ending on another howl of the coyote.

Holy Roller – Opening on some gentle, but meaningful strumming. The pace picks up, as the volume fills out. A very easy, laid-back style all round. This here is the sound of an accomplished band, with natural ability. Some tasty Slayer-esque riffs, with the electrified edge to prove it, amidst a heavy blues sound, verging on stoner doom and still reflecting early Sabbath, in places. Yet there’s even a Bon Jovi-esque tint and a touch of Radiohead in there, too, with a near proggy undertone, encased within a plausible blues heaviness. RIFFLORD are nothing if not versatile.

BB Gun – Gorgeous melodic riff intro, opening onto equally melodic vocals. Again, those electrifying, Slayer-esque  riffs return, alternating between straight-out metal and doom, following. Here, there’s a strong hint of Grand Magus’s ‘Legion’ – a very welcome sound and one thing’s already abundantly clear – as befits the band name, these guys know how to handle a guitar.

Transcendental Medication – Suitably gradual, vacuum-like intro, with random, magical fantasy/sci-fi sounds creating a mysterious feel. Strong vocals complement the mystical atmosphere, bringing that indefinable extra factor. Fairly mid-paced track, with a floaty thread. The wildcard, perhaps.

Lucid Trip – Another esoteric number, with all the associated sound effects and an Eastern twang, in addition. Fading out, just as rapidly as it started.

Poison Mother – Instant, heavy riffs and melodic feminine vocals intro. Once more, there’s something vaguely indefinable about the sound, but it’s inherently relaxed, able and smooth, in its delivery. A bit like a rockier Alison Moyet, only singing heavier, catchier material.

Electric Grave – A little random, in the nature of the intro, but happily, soon moving from bizarre, to eerily doom laden heaviness. Powerful accompaniments and a well blackened background. Short oration, followed by more doom, continuing in a similar fashion to Sabbath’s similarly titled ‘Electric Funeral’. A less remarkable track, but still well conveyed.

The Riffman Cometh – Slowly fading in, in a similar manner now to ‘Children Of The Grave’. I hate to say it’s starting to sound noticeably derivative. However, it’s undeniably artfully performed – even if they actually include a well-known recording of Geezer Butler, in interview, explaining the origins and influences of Sabbath’s music. Again, there’s no denying they pay homage in an obviously passionate way, but even for such a staunch Sab fan as me, there comes a point when things move from tribute, to outright copycat territory, even with the necessary permissions – as have obviously been sought, in this case.

Hou Dou Vou Dou – More of a clear blues outline to this. Very rocky and upbeat stuff. Notably catchy and visual, evoking bar room imagery and giving it plenty of energy. There’s a certain drive to this and it’s one I wish lasted longer. The classic metallic cliffhanger tease).

Thunder Ryder Cremation Ground – Another mysterious intro, of unidentified sounds, but soon swerving right into smooth, hardened metal, with a looser style. Lots of bass, nice and deep, along with the other effects, evoking forest imagery, prior to throwing in Ozzy’s cough on ‘Sweet Leaf’. Then piling on the heaviness again, with a pressured volume increase. Ending on an inexplicable Gregorian style chant.

Overall – Okay, so generally speaking, there’s probably more bass than riffage, which given the band name, probably needs rectifying and it’s a bit higgledy-piggledy, in places, with the mysterious sound effects. However, it is an enjoyable listen, revealing a high level of skill and evident enthusiasm. The melody’s great and the bass sections very prominent. My main gripe with this, though, is the extent to which it borrows from Sabbath, even to the point of throwing in actual recordings. Paying tribute is good and covers, often respectfully played. Being quite so heavily derivative, to that point, though, detracts from your own creativity, apart from anything else. A little less influence and a bit more originality would take ‘7CGM’ a lot further.

8/10 ********

For fans of Black Sabbath, Grand Magus, Down, Corrosion Of Conformity, Kyuss, Orange Goblin, Witchcraft, Electric Wizard.


Posted December 2, 2018 by jennytate in Uncategorized