Archive for the ‘Uncategorized’ Category

Blackning – ‘Eyes In The Mirror’

February 13, 2018

Formed January 2014 in Santo Andre, Brazil, Blackning are a thrash band, with power elements, from São Paulo, Brazil. Coming from the perspective of classic old school influences, they still retain their own uniqueness. Combining hard-core, heavy metal and death aspects, this creates a sound expressing speed and trad metal, with all the hooks to prove it.

A 4 piece, with experience of touring, live shows and recorded releases, launched throughout Brazil, America, Europe and Russia, international tours and more power in their performances, since recruiting Zozi Fernando, their second guitarist, last year.
Now having 3 physical releases under their belts, the debut ‘Order Of Chaos’ secured them number 34 in the Headbangers Latino America’s Best Album Releases in 2014, competing against bands throughout the continent. They won the same award last year, for their most recent release at that time, ALieNation. 2016 saw them achieve Premio Dynamite De Musica Independente’s best releases slot for best heavy metal albums – a highly respected and coveted award.

Following opening for Onslaught and Krisiun the year prior to that, Blackning have been invited to play alongside the legendary Sacred Reich (USA), on their debut Brazilian tour and also the renowned Canadian trad speed metal band Exciter, during their South American tour.

Blackning are endorsed by a wealth of companies. To date, this, ‘Eyes In The Mirror’, is their current 3 track EP, released October 30th, 2017, independently, on physical and digital formats.

Crowd Control – Oration intro, slightly like that on Leppard’s ‘Armageddon’. Swiftly followed by a crash of solid, heavy, unrepentant metal. A barrage of drums, thrash filled vocals and doom edged riffs and bass force their way through, to the end, adding in some melody and speed rhythm, while introing a deathy element, on which, it closes. Mega heavy fayre.

Eyes In The Mirror – Right in there, with a forcefield of metallic fury, edgy Slayer-esque speed riffs, determined drumming aggression and vocal rage, a decent helping of vibrato and snazzy paradiddles. Just an action packed feast of metal strength and endurance, from start to finish, all wrapped up at the end, by a definitive drum roll, defying any debate. Not for the fainthearted or those with mellow tastes).

Mean Machine – Crazy, Ozzy-esque riffs introing, along with deep throated, more melodic vocals and an exhilarating upbeat pitch). This, for me, is where the catch lies and that speed/power overtake is just sublime. Something very ‘Iron Fist’-esque about the pace and rhythm and even the feel of the whole thing and it’s over way too soon. A great sneaky way to close – leaving you in thrall to the sound and desperate for more.

Overall – An epic thrill fest showcase of heavy-metal speed and agility, from start to finish. ‘Crowd Control’ and Eyes In The Mirror’ will titillate those of a deathier persuasion, whilst ‘Mean Machine’ holds the gold and the power, for the melodic speed metal freaks, like myself. In other words, it’s got something for everyone. Crank it up loud, till the walls vibrate.

9/10 *********

For fans of Motorhead, Iron Maiden, Metallica, Judas Priest, Slayer, Ozzy Osbourne and death/thrash combo bands.


Sotz – ‘Tzak Sotz’

February 12, 2018

Sotz was formed in 2008, by Joao Jisus Rocha, inspired by ancient Mayan history. The word ‘sotz’ translates as ‘bat’ in the native language of the ancient Mayans.
2009 onwards was dedicated to completing the line-up. Their debut took place in 2014, with 5 original tracks and their debut EP was recorded in 2015 and released via Raising Legends Records. Produced, mixed and mastered by Andre Matos (Heavenwood, Equaleft, Tales For The Unspoken, Wrath Sins). A line-up change took place during the production process, resulting in a new drummer.
October 2017 saw the launch of the EP, ‘Tzak Sotz’ and more line-up changes, by the year’s end, resulting in the inclusion of Miguel Silva (Wrath Sins) on bass and Afonso Ribeiro as session drummer. Following the launch event for ‘Tzak Sotz’, the band signed with Laurus Nobilis Music Famalicao 2018 and are currently touring Portugal.

Apocalyptic Machine – Banging hard and heavy as all hell exciting intro! Drum explosion like metal fireworks, with riffs of fire and monster death growls, combining to form the biggest, most furious metal storm. Ever been in the front row of the cinema, when the action sound effects commence and you’re suddenly blasted by immensely shocking noise levels, making you want to run, screaming, from the cinema, before your eardrums implode? Replace that sound with metal of the same proportions. Now you’re enthralled, right? That’s the experience delivered by ‘A.M’. It’s well titled, cos it’s true.

Within The Evil Empire – Crashing intro once more, this time, giving the riffs greater scope to run the show. Everything’s just turned up to the max, as the drums hammer at your brain, in rhythm and sync with the riffs, the growls turn to screams and thrash becomes the master. Pitch perfect, top-notch production, audio values to kill, as the battering ram of sound gatecrashes the wall and strips your brain tissue clean, like a pneumatic drill. Artistically performed outro, changed down in an instant, from pure metallic chaos, to quiet, slowed, controlled contemplation, for the briefest of minutes, as that memorable riff fades out. Nailed it.

The End Of Civilization – Another wild blast of drums opens, followed by a roar and a thrash fest of riffs. A very classic vibe to this, very reminiscent of Blaze Bayley’s ‘Crack In The System.’ Just pure mosh material, performed with monster wall-to-wall sound that’d shake the room to its foundations. Great stuff altogether.

Reborn – Opening with a sinister creeping acoustic note, cymbal hits and careful bass work, all finished off with a tribal-esque drumbeat, to create the perfect horror thriller gothic intro. Blazing fast riffs take up the slack next, seguing right into the growly vocals, as the rhythm reveals itself, reminding of Intense’s ‘Fear Is Not Enough’. That same ancient Mayan theme encapsulates their debut album, from which it’s taken. A continuation of high-quality metal just obliterates anything in its path, till the end. Mightily impressive.

Tzak Sotz – A veritable mosh fest of epically thunderous proportions right from the start’s already characterised the well-placed title track. That creature from the black lagoon arises once more, to take its place, as it’s blackened, blood-soaked vocal emissions roar their way through the track, for all they’re worth. Fiery riffs take centre stage next, as they throw enough notable melody into the show, to be remembered. Ending on a classically eastern section, evoking visions of pyramids and Turkish Delight, the full percussive potential is reached, as those riffs and darkly subtle bass form the backbone of the startling pace. Just immense. Voluble, smooth and intense, all at once. Fire, aggression, excitement and melody, all in one song. Unforgettable.

Overall – Well, this heightened level of skill and intensity was definitely worth waiting for. It’s a positive raging inferno, with an undercurrent of cool, calm, collected contemplation. Including blackened vocal expression and made for moshing riffs; drumming fury, gentle light percussion and background steady bass – it lacks nothing and emphasises everything. Well produced and skilfully performed. Delivering the heavier end of thrash, it works well as a death/thrash combo genre, or as a stand-alone thrash project and will appeal to fans of all elements. Brilliantly composed and artfully arranged and structured.

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

For fans of heavy thrash, death, black, screamo and melo-death.

Spice Breather – ‘Crawling Planetary Being’

February 11, 2018

Spice Breather’s main aim is to produce a sound balancing its chosen genre, of movie/soundtrack music, with extreme metal previously performed by Matthew Schott (the sole artist, producer, performer). The 80’s films with which he’s grown-up form the influences – TRON, Dune, Terminator, The Thing, Escape From New York, Road Warrior/Mad Max, Alien, Robocop, etc.

The music inspirations include NAMANAX, Robert Rich, Bill Laswell, Scorn/Lull, Trial Of The Bow, James Plotkin, Aphex Twin, orb, Tangerine Dream and more. He was also lyrically inspired by the following: Ender’s Game (Card), Eon (Bear), A World Out Of Time (Niven), Inferno (Niven, Pournelle), Ringworld (Niven), etc.

Projectile 1 – Pre-Ignition – Old school sci-fi soundtrack intro, consisting of mainly strange swirly sounds, distortion and blizzard effects. Little else is audible through it and if I’m honest, it’s overdone and barely tolerable. If you ever wondered what it might be like to be transported back in time to a 70’s sci-fi show set, in which you’re trapped on a doomed spaceship, complete with monotonous cacophonous white noise torture, you’re about to find out. Fading out on a brief electro section, I’m just grateful for the blessed release of the long-awaited ending.

Projectile 2- Ignition – Part 1- Part 2 – Wobble board effects open here, onto what now seems to have moved on to some sort of acid house party nightmare. Trance music enters next, with a sound like a fairground revolution, from which there’s no escape. Laser gun effects just add to the weirdness and random misplaced irritations, of which there are many. Repetitive mindless electronica, with no end in sight. Just noise and nothing else.

Projectile 3 – After Effect – Ambient intro, which taken in isolation, may hold some value in the listenability stakes. If the aggravating gloom interspersing it was cut. Unfortunately, though, the potential opportunity for creating a worthwhile soundscape is lost to the incessant, repetitive bleakness. Seriously, I’m losing the will.

Projectile 4 – Deep Sleep – Already, it seems, the point’s been lost. Deep sleep doesn’t have to mean death. Though in this case, it might be a blessed relief. Again, there’s an ambient thread, which, if used correctly, might possibly be a route to creating something meaningful, but it just feels like overbearing gloom.

Re-Entry – That ambience intro’s again, followed by a drum and bass section, more reminiscent of an action movie shoot-out than anything else. It just continues with more intractable unlistenable dreariness. The fact is, there’s only so much of this a human brain can take, before it switches off and redirects its energies, out of sheer necessity.

Overall – In the grand scheme of things, some instrumentals just aren’t meant to be.

1/10 *

For fans of dull, soulless electronica, trance and vague sci-fi.

Released 20th January 2018 on Bloody Mountain Records.

Devilspeak – ‘See Evil, Hear Evil, Speak Evil’

February 7, 2018

On Saturday 10th February 2018, Devilspeak release a debut 3 track EP, entitled, ‘See Evil, Hear Evil, Speak Evil’, via a live streamed gig on Facebook and YouTube. They’re a 5 piece death/thrash metal band, from Cape Town, South Africa. Formed August 2014. The band name was chosen the day after the first audition. It represents a wordplay, re: the Devil’s Peak Mountain, in Cape Town.

They debuted live on March 20th, 2015. The debut single, ‘Violently Leading The Blind’, was recorded on 18th and 19th April 2015, at Milestone Studios, by Jethro Harris and launched on 1st September 2015, to international acclaim. During 2016, they were awarded the Best Newcomer at the South African Metal Music Awards. They’ve played a number of high-profile shows, including Metal 4 Africa’s Winterfest 2015 and Summerfest 2017, Wacken Metal Battle South Africa, April 2016, opening for Rotting Christ, Cape Town, July 2016, opening Witchfest 2017 Cape Town, with Devildriver and Mantar headlining and support for South Africa’s Terminatryx, at their 15 year anniversary show, August 2017. Last year also saw them win the Best Thrash Metal Band Award, at the South African Metal Music Awards.

‘See Evil, Hear Evil, Speak Evil’ follows their 3 track EP, released in September 2016 and the single ‘Unearth Hell’, from the EP, launched on 12th September 2017, which was lauded, throughout the world’s media. The same positive reception and airplay is currently greeting ‘Internal Shrapnel’. (Track 3 on the new EP).

Recorded, mixed and produced at Milestone Studios, Cape Town, by Jethro Harris, mastered by Kelsey Mastering, South Africa, the EP is representative of Devilspeak’s preference for home-grown products and collaborations, so to speak. In keeping with this ethos, the live stream will be broadcast from Milestone Studios, by Jethro Harris. Live editing will be handled by 2C Productions, based in Cape Town, known for their wide experience of such work.

A small select number of people will attend the live feed. It’s scheduled to run for 30 minutes, including the entire EP and 2 additional tracks, i.e., the debut single, ‘Violently Leading The Blind’ and another previously unreleased track, only ever played live, in ‘Embrace Decay’.

Prep has been going on behind the scenes for this event, for over a year and it’s set to be a big occasion. All interested parties can hear the next promo interviews for this big occasion on Thursday 8th February, on The Breakfast Zone, on Zone Radio, Cape Town, from 10:30am CAT, live, on: and also on: TBD with the Killogic Effect in the USA, on . The FB event can be found at

It’s also being screened live at Gandalf’s, in Cape Town, on the day, with early opening for the event. That can be viewed at Click on the global broadcast live stream: and also at .

The EP will also be released in physical CD format, with intricately detailed artwork, including separate artwork for each track. The finished product is planned to be a visual spectacle! Art and design by Sepulchral Visions and TVS Graphic Design. Merch is also available in the form of Devilspeak’s Skellie mascot on a launch shirt, with a possibility of more varied designs in future.

Don’t miss the live launch of ‘SE,HE,SE’ , on 10th February 2018, accessible on Facebook and YouTube. 5pm CAT/3pm GMT/10am EST/9am CST.

EP Track Listing:

1. Honoured By The Bleeding
2. Unearth Hell
3. Internal Shrapnel

Violently Leading The Blind – Crushing hard as steel intro, blasting its way through the wall! Ferocious fast-paced riffs and visceral blackened growls tear holes in your face, as the tension builds and the massive drum sound fills the crevices in the earth. Shattering climax of burning guitar sections, more vicious vocals, controlled rhythm, red hot riffs, with a vibrato element, climbing scales of intensity, before the light percussion cymbal effect ends the show. Mind blowing fire to end all fires.

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

The stream for ‘Unearth Hell’ can be found at:


Trigon – ‘Rock It’

February 6, 2018

Beginning life as a covers band, Ottawa-based Trigon have always tried to rock things up, placing their own unique signature on them. After an uninspiring attempt to do the same with The Pointer Sisters’ ‘I’m So Excited’, they were instead inspired to create an original new track of their own. Hence, ‘Rock It’ was born. Following on from their debut 2017 album, ‘Fed Up’ and their debut single, ‘The Night Is Young’, ‘Rock It’ is an independent release, launched on January 24th, 2018.

Trigon’s influences include: Volbeat, Crobot, David Wilcox, System Of A Down, Nirvana, Megadeth, Black Sabbath and Slayer. In addition to the recent release of ‘Rock It’, Trigon are also prepping and producing their forthcoming album, due for release this year. Already, Trigon’s uniqueness stands out and this is thought to be due, in part, to the fact of them being a trio, given the esoteric significance of the number 3. Having honed a signature sound, their band name also revolves around the significance of 3, as does their symbol. They claim to be the living proof that rock ‘n’ roll isn’t dead – a fact of which Lemmy himself would be proud.

‘Rock It’ was mixed and mastered by Glen Robinson (Gwar, Voivod). The previous ‘Fed Up’ album, concerns modern life and its many socio-political and practical stumbling blocks. Written to be accessible to all, it’s hoped that fans will identify with it. Trigon’s main aim is to give as much commitment and loyalty to their fans as they receive from them. This is just the beginning. ‘Fed Up’ was launched on March 24th, 2017 and is available digitally and through all main Internet outlets.

Rock It – Kicking drum intro, chased by lightning fast riffs and a great easy rhythm. Fun melody, grabbing your attention and keeping it there, throughout. Whizzing through the track, with an impressive individual spin on a classic vibe, maintaining an upbeat feel, in a catchy, crowd-pleaser style. The production could just do with a little more work, to eradicate the very slight tinniness in the background, but it certainly doesn’t spoil the track and generally, it’s lively, uplifting rock fayre.

8/10 ********

For fans of The Offspring, Terrorvision, modern Glam rock, such as The Darkness. (video for ‘Rock It’).

The Raz – ‘Self-Titled’

February 5, 2018

From Colombia, SC, USA, The Raz is a 4 piece rock band, inspired by 4 decades worth of influences. Their drive and passion are clear and they bring their own brand of music to the table, in the form of their self-created ‘Raz-N-Roll’. Coming from bassist Dale Raszewski’s nickname, The Raz comprises Dale, Adam Shealy, (drums), David Scott McBee (vocals) and Nick ‘Kuma’ Meehan (guitar).

The 9 track debut is a self titled album, based on melody and groove, teeming with rock and blues sounds and inspirations including Led Zeppelin, Badlands, Joe  Bonamassa and Rival Sons.

Formed in spring 2016, by Raz and Nick, the duo wrote two songs, the very first night they jammed together. The band began life as a power trio, after recruiting Andrew Bowers, the then drummer. David Scott McBee then joined as vocalist and the drummer was replaced by Adam Shealy – the next one to audition. The Raz became the force of rock ‘n’ roll they are now.

Black Garden – Opening on a very classic Joe Bonamassa type groove and cymbal hit, the vocals do it perfect justice, with that same high octane level of expertise and blues rock sound that hooks you instantly. A great rock centred feel just permeates the whole thing, characterised by that swing. Absolutely crammed full of irresistible catch, born to rock swagger and real blues flavour. Even a slight Dio-esque slant towards the end, in that ‘Gypsy’-like section. For an intro track, it’s a killer.

No-one To Blame – Immediate bass led intro, with more blues within it then you’re ever likely to hear elsewhere. Easing you in, with mid-paced rhythm, of inherent sensuality and well-placed aggressive vocal hits. Again, the sound of Dio echoes through it, combined with that truly accomplished blues man overtone. Riffage to die for, lyrical paradise and humongously catchy melody, all topped off with the kind of drumming which aces it totally, with a mind blowing blend of traditional and new wave, creating the perfect, richest finish. Divine.

Different Coloured Leaves – Gorgeously smooth acoustic intro, matched mood for mood, with heartfelt lyrics, powerfully and passionately sung. As it ramps up the electricity, the power builds to the max, in a Zep-esque sound rarely heard or captured. Playing through it, with the smoothest, sexiest riffs, hitting every ounce of melody and shaking the bottle dry. Growing to a cleverly designed orgasmic climax, creating just the right effect, it’s very rare I say these words, but this truly is The Holy Grail.

Since I Lost You – Full volume, full strength bluesy riff intro, with a fun vocal element; again, that classic Zep-esque emphasis returns. Grooving along, with a high-level slide section, enabling visual imagery of a bottleneck, working those fret-boards so hard, it almost shatters on impact. Just rocking and rolling, in the most fabulously old school way, there’s nothing to dislike and everything to love.

13 Years – Getting straight in there, with a true blues sound, that was just born to play, showcasing the dexterity and versatility born of genuine love and talent inspired by nature itself. So, so easy to love and get carried away by the flow, the range of blues rock moods and emotions displayed here are endless and fascinating and the song moves as fluidly as the seasons. Pure genius and thoroughly addictive.

My Woman – Rocking things up to the height of animalistic intensity, this is pure high vibration pleasure. Sexy as hell and taking it higher and higher, it’s a melting pot of racy, red hot sensuality. One listen and your desires will be assuaged, like the siren call of a mermaid, hypnotically entrancing and enchanting you, to your watery doom.

Mystery – Bass introing, with a change of tack, in a G’N’R’-esque twist, but soon revealing the blues factor still in evidence. Vocals taking an easier slant now, with some laid-back choruses, retaining the intrigue in the verses and bringing the guitars forward now, to display their looser, free-flowing blues wares even more, the mood turns funky and continues like that till the end. Finishing on another classic drum hit, the strength of passion driving the engine never fades, till the final hit.

No Surprise – Cymbals opening now, groove-based riffs taking up the slack, with equally groovy vocals, lyrically demonstrative of the same groove. Great easy beat, rolling the whole thing forward, in a relaxed frame of mind, a slightly looser, but no less powerful or evocative thread holds it together and brings it to a neat end. Effortless and hugely rhythmic.

What’s Real – Slowing the mood and pace down to a chilled out jazzy beat, now the contemplative aspect enters. Lyrically inviting and thoughtful, injecting emotion into the riffs at just the right point, it carries you away, as if floating on a river, travelling downstream, as the music floods your being. Heavily charged sections follow, like a dream of intense colours of varying shades. Interlacing with gentler riffs, it’s a perfect combo of textural sounds. Closing on an affecting tone, which seems to infiltrate your soul, the lyrics hit you, as they come full circle, reminding you of their message, like a strongly chanted mantra.

Overall – There are rare occasions when reviewing music, when no words will seem to do justice to an album. This is one of them. So I’m just going to follow this up with a phrase I only use very rarely. The Holy Grail Of Rock/Metal. Only a complete musical Philistine would fail to appreciate this album or those words in relation to it. Nothing else will suffice, to do it justice, other than to say the level of accomplished musicianship within it is truly out of this world.

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

For fans of Joe Bonamassa, John 5, Led Zeppelin, Heaven’s Basement, DIO, Black Country Communion, Blue Oyster Cult, Focus.

Released 9th February 2018 via Rockshots Records.
1st Single – ‘No-one To Blame’ –
Album Pre-order link –
Or on Amazon –

Nath Bravo – ‘Shadowman’

February 1, 2018

Nath Bravo, a 21-year-old Mexican singer-songwriter, with a natural inclination towards classic early blues and jazz and an equally natural talent for singing it, is also a born musician, whose vocalisation of this began at 5 years of age. Adding the piano to her repertoire at 13, her first song was written at the tender age of just 14.

Inspired by greats such as Nina Simone, BB King, Beth Hart, Tom Waits, Chet Baker and Ella Fitzgerald, she won 2nd place in iPop 2013, went to L.A., intending to produce her debut, but instead, committed to continuing her vocal preparations, till she discovered her own unique signature sound.

2015 brought success in the form of a 4-minute original track winning her first place in a national competition, run by her university, at that time, recognised as one of the best in the country. At 18, she began producing and recording demos. A year later, having travelled to London, Nath performed open mics and live sessions in 30+ places, in 2 months, culminating in the launch of ‘Mercy’, her debut single, entirely self produced and released.

In September of 2016, she became the featured artist within Vidanta group, in Mexico, for 6 months. Travelling back home to Mexico in early 2017, to concentrate on writing music, she then launched a new EP, in November and is presently touring this, around London.

Shadowman – Wow! Intensely talented soul voice intro’s, pouring extraordinarily emotional investment into the track, hitting every note, twist and turn, with such effortless ease and competence. The ultimate accomplishment breathes through this, with absolute conviction and such heightened skill that no words could ever do it justice. Thoroughly mind blowing and stunning, beyond belief. The closest comparison is to say that this is what the probable outcome would sound like, if Adele, the late Amy Winehouse and Dusty Springfield’s voices were combined with that of Erin Larsson, from Blues Pills. You won’t hear this level of vocal gymnastics and magnificence often.

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

For fans of Blues Pills, St Jude, Adele, the late Amy Winehouse and Dusty Springfield, Duffy, Mary J Blige and Nellie Furtado.

Wail – ‘Resilient’

January 30, 2018

From Lillehammer, Norway, Wail are a band of true heavy metal initiates, with the sound of metal in their blood. Their signature is one combining new and trad heavy-metal, with a compelling edge and an attention grabbing hook. ‘Resilient’, their new release, is a strong album, with an affective stance.
Recorded by Kjartan Hesthagen and Chris Skjenken. Produced by Kjartan Hesthagen and Ronni Le Tekro. (TNT).

Never No More – Instantly grabbing you, with its hooks, the enthusiastic energy’s immediately audible, in the trad style metal sound emerging and infecting the chorus with heartfelt passion. A great anthemic flavour characterises the track, completing the effect with upbeat vibes.

He’s Finally Here – A megalithic blast of drums opens, followed up by pointedly strong vocals, of noticeable depth. Intriguing use of synth and vibrato effects. Visually evocative of a charging band of warriors on a mission, complete with exploding light images visible through the sound. An abrupt end, but still loaded with power and it makes its point.

By Your Hand – A veritable attack of drum rolls and catchy riffs intro. A clear feel of old school metal infuses this and it’s highly capable and hugely enjoyable. Soaring vocals give it driving strength, as its lyrics create the fiery atmosphere portrayed within them. Something slightly Lordi-esque adds to the scenes of high-energy theatrical excitement, lending it that extra boost.

Dark Messiah – A shift in atmosphere indicated by the piano focus intro’s here, joined by a brief spoken section and a dramatic anthemic slant. The high emotion’s audible. A fitting catchy riff threads its way through the track, signposting the way, with its directional emphasis. That height of expression really carries the song, as it lights the surrounding atmosphere, like a star.

Initiation – Bass emphasis intro’s this, in a darker mood and a slight Savatage feel to its sound. Lots of powerful vocal harmony, bringing a very real sense of palpable physicality to the track. This is one of those songs which needs no lengthening, as its message is delivered with swift, meaningful brevity.

Thrill Of The Hunt – Big bold drum hits introing, seamlessly followed by plausible lyrics, conveying clear visual imagery of the scenes depicted aurally. That gloriously anthemic thread takes the whole thing up, at the end, in an exalted celebration. Brilliantly delivered.

Mary – A realistic portrayal of wolf-like slavering and prepping for hunts intro’s, seguing, with absolute fluidity, into a high octane section of melodic adrenaline, rising all the time. That’s how it continues, till the end, in a perfect demonstration of pack like behaviour and ritual. The level of insight within this creation is rare and remarkable. As is the natural talent with which it’s performed.

Protector – Really striking riff opening, onto a world of righteous vocal aggression sets the scene for a massively energised track, stacked with passion and creative dexterity. A short, but intensely powerful blast of expression.

Resilient – Introing gradually, this time, with the inclusion of a brief flute section, before changing gear, to a thoroughly metallic, steel drenched performance, riven with catchy melody. Again, it’s interwoven with the gentler, softer sections, increasing the heavy emphasis all the more, via that technique of careful manoeuvring and song construction. Ending on a pointed fade-out, in which the power and softness unite, in an effective and gently poignant note, it’s a well conceived finish.

Overall – An intensely powerful, expressive and atmospheric album, with plenty of intrigue, a versatile performance and tons of true to the core, heavy metal.

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

For fans of Lordi, Savatage, Saxon, Anthrax, Pantera, WASP and theatrical, operatic metal, with a heavy theme.

Courtesans and Death Blooms King 810 UK Tour

January 29, 2018

London based doom pop rocksters Courtesans are touring with King 810 in Feb. They’re also special guests of The Flint, from Michigan, for the duration of their UK tour, ‘La Petite Mort or a Conversation With God’. As both King 810 and Courtesans perform music which challenges standard genre boundaries, utilising the darkness born of genuine life experiences, they’re optimistic about this tour. UK alt death metal band ‘Death Blooms’ are also confirmed as support for the Birmingham, Manchester and London gigs.

Feel The Same (Courtesans) – Gradual gentle intro, with melancholy feminine vocals coming in, making their mark in a highly effective, mainly spoken word format, interwoven with morose melody, both real and impacting, in a very pointed way, reminiscent of Skunk Anansie’s ‘Brazen (Weep)’. This is a sound at once, memorable and affecting, in itself, but there’s a note of absolute sincerity in that voice, which is likely to find its way into your heart immediately.

8/10 ********

Last Ones – (Edit) – (Death Blooms) – Majorly violent drumming attack opening! Vicious death growls and an astonishingly powerful sense of aggressive passion lace this with a strong signature sound throughout. It’s loud, it’s heavy and it’s unexpectedly catchy. An instant crowd-pleaser.

9/10 *********

Overall – A great combo of gravel-encrusted, cutting edge hardness, displaying a unique expression of extremes, with measures of variance in between. An unlikely alliance, proving the workability of opposite ends of the rock and metal spectrum.

9/10 *********

For fans of Stiltskin, Skunk Anansie, Rise To Remain, Cambion, Psython, KLOGR.



Third Angle Projection – ‘Nothin’ To You’

January 25, 2018

Third Angle Projection, from the Midlands are a 3 piece rock band, whose present line-up has existed for approximately 2 years. Influenced by: R.E.M., S.T.P., Nirvana, Black Sabbath, The Doors, etc. They’ve already toured Germany and promoted and managed several Fests and gigs, nationwide. This current EP, ‘Nothin’ To You’, comprises 3 studio tracks, all accessible on iTunes, Spotify etc. The video for the title track can be found on Youtube. Feb will see them tour France, with She Wolf and Black Jump, performing their 1st gig in Paris, on the 10th, before returning to Germany, later this year.

Disarray Of Time – Affecting bass intro, of quite startling quality. Fairly grungy style vocals, with plenty of rhythm and stacks of gritty passion. A great cohesive feel, with a distinct sense of early Beatles in the sound and structure, combined with a clear Nirvana-esque influence in there too. Notably effective fade out and generally, a flawless performance. Good start.

Coming Down – Nice smooth bit of bluesy stuff opening. The mood slides down, almost palpably, but still stays up, while emphasising the feeling behind the meaning. That guitar’s well suited to the laid back, yet emphatic style. Catchiness enters at around the 3/4 mark, hitting its target and that closing guitar tone just melts right into the vocals, perfectly. It’s a well synchronised sound and a homely one, at that.

Nothin’ To You – Crunchy riffs intro, injecting more of that bluesy tone and again, there’s an audible Nirvana edge, moving into harder territory and a looser Pearl Jam/Soundgarden feel. Faultless sound production and fading out on a cool, relaxed vibe. It works.

Overall – A fun, chilled out EP, with a bluesy, grungy slant and a warm, familiar atmosphere. Well performed, with consummate ease and clear sincerity. ‘N.T.Y.’ hits the target and goes down well.

8/10 ********

For fans of Nirvana, Soundgarden, Pearl Jam, S.T.P., early Beatles and Duff Mckagan’s ‘Loaded’.