Enhailer/Black Pyramid – ‘Self Titled’   Leave a comment

Founded in Ohio, in 2014, Enhailer offer up a combo of doom, thrash and black metal, nurtured during their years of experience, with other bands, such as Mockingbird. ‘Enhailer/Black Pyramid’ is their 4th release.

This 4th album is a split with Massachusetts-based Black Pyramid. BP are a doom focused band, for whom ‘E/BP’ is a 5th release.

Launched on May 9th, 2020, CDs are available, as are vinyl and tape formats. Out now, on Burnout Records.

Pearlesque – Opening with a spoken film scene, moving into a down tuned doom sound, slowly paced, repetitive, trenchant darkness. Fairly short track, returning to the spoken lines, at the end.

Death On Speed Dial – Similar sound, with more cymbal action and a powerful drum roll. Heavy riffage, supported by the drums and tinny cymbals. Riffs growing more intense. Strong, darkened vocals enter, throwing out thrashy rage. Quite a stoner, doom filled sound, with thrash edges and slight grunge echoes. Slowing the beat down, more and more, it hints towards Alice In Chains, in places, getting sludgier, till the end.

Drudgery – An unexplained film line opens and straight into a downbeat stoner doom sound again. It’s melodic, however dark, but there is definite edge to it. A contained emphasis to the sound. Slight nods to Grand Magus, Stone Temple Pilots, Queens Of The Stone Age, The Answer and Kyuss. It’s a controlled, fairly repetitive, but consistently heavy sound.

Enjoy The Flaying – Counting it in, once again, that powerful doom returns. Picking up the pace, but never getting beyond the traditional doom rhythm. This is all about the beat and the unchanging, down tuned tones. Slight Slayer-esque riffage, just before the end, then once more, returning to the same narrative, with a gradual climb down in speed, accompanied by screeching riff tones and a sudden stop.

Quantum Phoenix – (BP) – Slow, dark bass introing. An echo chamber surrounds it, as a buzz of feedback riffs follows. Very mournful, doom led, funereal stuff. Slow drum beats hold an atmospheric edge. Only speeding up marginally, it veers towards death march territory. Grit in the vocals ingrains that sense of morose mood further. Fairly samey, throughout. Implanting a sense of walking to your doom. Still some melodic aspects, but the pain and torments vocally audible. Moving into a slightly lighter riff now, picking it up a bit. It paints the changing mental scenery well, incorporating slight wobble, on the riffs. Gradually, taking it into the relief of emerging lighter territory. That riff section actually holds a slight comfort, in the repetition. Light percussion accompanying, approximately 3/4 in, intensifying its sound. Pained roars enter, amidst a cacophony of chaotic drumming. Bringing in some edgy heavy riffs, playing in harmony, at the end, winding it down, to a fading buzz.

Overall – An unusually morose and depressive sound, with some lighter touches, here and there, it’s largely downbeat, with a lot of buzz within it. The fuzzy, faded atmospherics certainly entrench it well into the doom genre. A little too bleak and chaotic, in mood, with tinny accompaniments scattered throughout, but it reflects the sense of gloom and despondency well.

5/10 *****

For fans of Kyuss, A.I.C., The Answer, STP, QOTSA, Electric Wizard, Witchcraft.



Posted June 28, 2020 by jennytate in Uncategorized

Haxan – ‘White Noise’   Leave a comment

UK-based Welsh rockers Haxan now offer up their soon-to-be-released debut album, ‘White Noise’.

Created as an aural panacea to the mass worry of the Covid 19 pandemic, ‘WN’ features the lead track, ‘Skeletons’, recently released on video. Already amassing high praise, amongst the music press, ‘Skeletons’ opens the door for the blast of explosive metal that is the rest of ‘WN’.

Having already performed such high-profile festivals as Download, Planet Rock Rockstock, Monsters Of Rock Cruise (USA), Rock The Boat Cruise (Australia), Hard Rock Hell, etc, besides playing alongside Status Quo, The Subways, Electric Six, Phil Campbell, Haxan’s music is an impressive sound of solid rock.

‘WN’ was produced by Todd Campbell (Phil Campbell And The Bastard Sons), at Stompbox Studios, Wales. It’s a cachet of top-quality tracks, reflecting Haxan, at their best.

In a dedicated bid to complete the album, amidst Lockdown, Haxan constructed an isolation booth, for vocals and with TC’s assistance, met their goal.

Damned If You Do – Starting up with the most energetic intro! Right into a fizzing riff. Heavy drumming and high-class rocky vocals give it a flavour, straight away. A real lively, passionate vibe). Slight 90’s feel to this. Just stacked with quality sounds and feelgood vibes. Great drum hits, towards the end and those vocals are steady and assured, throughout. Thrilling, energised and enthralling).

Killing Time – Sharp opening vocal gets right into the vibe. Fabulous rocked up bass lines underline the whole feel. Even those lighter cymbal touches lend their power to the cracking mood of the track. Really impassioned lyrics, dead set for big hit territory. So damn catchy. Once that chorus gets inside you, it’ll stay there and never leave. Standout track, with riffs to kill.

Nine Lives – Drum beats intro, onto an audio landscape of frenzied action. Rolling those drums over, like no one’s business. Once more, those insanely powered vocals rock it up, to 1000 degrees. Easy comparison soundalike track, ‘I’m So Excited’, only much, much rockier! So engaging, hugely affecting, loaded with metal beats and melody to drive you insane. It just imprisons you in its power.

Grave Digger – Banging solid drum intro. A distinctly dark underlining bass, with another high-energy melody and gigantic vocal conviction. Bluesy edge and absolute classic vibes tearing through the track, with explosive power. Such natural ease in those vocals, no pitch too high, no nuance too complex. This is one track through which you can clearly hear the traditional influence, but be under no illusion that they’ve put their own massively heavy spin on it and made it work.

Louder Than Words – Introing on an isolated, bouncy riff, exploding into another party rock sound, throwing out shards of metal, with acute edge. Rumbling drums bring that heavy backbone, accompanying the sharpened vocals. Great fun riffage adds more melodic elements. Light, within darkness, in a perfect metallic casing.

Black Sheep – Strong bass line and electrified riffing opening. Straight into another palpable drum section, joined by intense vocals, painting a powerful portrait. Lyrical depth, combined with impossibly catchy melody. Plausible lyrics, delivered with complete conviction, in that extraordinary sound, made to live in your head forever. Humongous power, screaming through those unforgettable vocals, cemented and hardwired into your brain, by the impeccably addictive riffs. Just immense.

Crash And Burn – Drum hits intro. Another deliciously dark accompaniment. Truly made for metal vocals, heaped with feeling and natural passion. So able, twisting themselves around every note, with precision skill and timing. Tasty sexy melody rings out, through this firecracker track. Ending neatly and metallically, on a final few drum and cymbal hits.

Skeletons – Opening on a tunnel of sound, moving, instantly, into the raw power of a hard rock drum and riff section. Vocals following closely behind. Gorgeously gothic mood and a high-powered rock feel. Huge bodied dark theme, acutely expressed. So heavily melodic, it just rocks along, on the catchiest vibes. Love it. Hit single of the year material, for certain.

Living Dead – Deep, down tuned bass riff intro, matched by the effortlessly dark vocals. Absolute synchronicity. An entertaining narrative sings through this, evoking powerful imagery. Showcasing Haxan’s versatility and absolute seamless ease of fluid flow, from one range to another. Ending on an impressive, artfully placed vocal harmony.

Overall – Incredible, mind blowing and truly explosive, ‘WN’ is an outstanding album, screaming with power and electrifying force. Addictive and immense, it’s got hit album of the year written all over it. A sound like no other.

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

For fans of Alannah Miles, Halestorm, Obiisss, Suzy Quatro.

Pre-order ‘White Noise’, at:   https://www.haxanofficial.bandcamp.com/



Official ‘Skeletons’ video:

Posted June 27, 2020 by jennytate in Uncategorized

Toby Jepson – ‘Ignorance Is Bliss’   Leave a comment

The story of the ‘Ignorance Is Bliss’ album begins some 25 years ago. When Toby Jepson launched his debut solo album, via a little-known label, called Cottage Industry. This was a year after the split of his widely known previous band, Little Angels. The responsible factors being the usual creative differences, lack of support and accommodation, within the industry. The ‘IIB’ album came out of that. 11 tracks, +2 previously un-released songs, it’s a fulsome sound, featuring a lot of conflicting emotions, explored and expressed, in depth. Consequently, it’s a very different sound to that of Little Angels.

‘IIB’ was recorded in a variety of different locations and as such, captures the changing moods and extreme emotions channelled within it. As a first for Toby, ‘IIB’ was independently engineered and mixed at ‘The Warehouse’, the Canadian home studio of Bryan Adams, in West Vancouver BC, within a fortnight, by renowned UK-based mix engineer Stephen Harris, with the assistance of Mike Plotnikoff.

Following its release, due to various reasons, amongst which was a serious illness afflicting Toby, on tour, ‘IIB’ unfortunately sank into obscurity.

Presently, this hidden diamond is about to re-emerge, via Toby’s label, Jepsongs Recordings. A polished version, with audio quality brought up-to-date, it’s what might be called a bumper edition, packed with features, including a 36 page song book and hand drawn artwork, contributed by Toby’s daughter Evelyn, track synopses and a foreword by Kerrang! Magazine’s David Galbraith.

‘IIB’ can be pre-ordered, via Toby’s official website. (Link below).

Some People Are More Equal Than Others – Intriguing emerging intro. Very contemplative vocals. A chilled out sound, with an equally laid-back rhythm. Some twangy riffs in there. It’s quite a positive sound, with an audible lift. Even for all its poignant hits, it soars, higher, within the melody. A Beatles-esque echo accompanies it and it ends, on a couple of drumstick clicks.

Better Off Without Me – Drumstick clicks open, onto a fresh, upbeat, yet traditional landscape of psychedelia and vivid colours. Transporting the listener to the flower power era, it’s a very visual track, with strongly emotive lyrics. Smooth riffage sings through the track and a cultured tone to Toby’s voice intrigues and carries the sound, through the eras.

Slipping Through Your Fingers – Opening on a mellow riff, soon joined by a soaring change, amongst strummed chords. An enigmatic mystique to the vocals. An accessible pace makes it an easy listen, as it strolls along. Quite a summery vibe to it, with hints of colours and sepia shades. A powerful hue to the riffage here. It opens up visuals of days at the beach, ending on a carefully timed drum roll.

Haven’t Got Your Strength – Deep bass riff intro, followed by perfectly slotting vocals. A darker beat and shadow to this, but still, the vocals lift higher, in places. Something distinctly Queen-esque about this, both audibly and atmospherically. It just rolls along, pleasantly, till the end, with a very slight wobble on the closing riffs.

The Wind Blows Hard – A murkier, bluesier riff intro here and it’s quite delicious). Catching that mood well. Those vocals were meant for these riffs. Intuitively moving up and down a gear, where necessary, the emotion’s powerfully audible. Just there at the mid-section, that Little Angels sound returns to Toby’s vocals, like a hit of a powerful drug. From that point, the whole track becomes inviting and catchy, edging towards anthemic. There’s real feeling there. Fading out, on a barely audible, but very physically palpable bass tone. Standout track.

All Heal In Time – Surprisingly high toned vocal intro. Casually strummed acoustic riffs, amongst a beautiful melody. This is another palpably emotional track. The mood hovers and flits between varying pitches. Truly convincing. A very touching track.

I Won’t Be With You – Poignancy returning, the mood dips, instantly, amid the darkening riff tones, but then,… an explosion of higher sounds hits, in all the colours of the rainbow. As that riff infiltrates your skin, the Little Angels-esque vocals re-enter, lifting it, into altogether happier territory. Though it ends on a lower tone, the wholeness of the atmosphere present in the rest of the track just penetrates your soul.

Save Me From Myself – Strong, heavy chords intro, onto a more mysterious tone and lyrical refrain. Really intensely involving sound. Powerfully engaging rhythm. Built around a simple structure, working perfectly for the style of track. Such clear emotion poured into those lyrics. Easily accessible, catchy chorus. Really poignant riffs enter your bloodstream, injecting that closing twang deep into your core. Just as you think it’s over, the chorus suddenly returns, heightening its volume, like a wave of crashing emotion, before exiting again, like the tide going out.

Out Of Sight Out Of Mind – Quickened pace intro’s now, with a slight country edge to it. Once more, the lyrics are poignant and thoughtful. Still, quite a happy, upbeat note winds its way through. Vocals soaring and moving smoothly, through the melody. Some nice twangy riffs in there again. A carefree mood to this. Precisely plucked fretwork, with bits of slide, ending on a relaxed, comfortable vibe.

Harder All The Time – Opening once again on drumstick clicks and now, straight into a cool, laid-back, looser, bluesy vibe, with touches of funk. Very much melodic, with happy tones. Light percussion enters, keeping the strength of that rhythmic momentum. Now that LA sound comes back, clearly! Just a great rhythm, with a really fun melodic groove. The funk gets more intense, evoking 90’s moods. Always, that blues twang persists.

Open Your Mind – Crashing drum and riff intro! Very classic rock ‘n’ roll sound, with hits of modern edge. It just floats along, on a stream of rock, on the riverbed. Fairly psychedelic, upbeat and funky again. Just a really full, involved sound, centred round another straightforward lyrical theme. Ending on a strong, definitive riff.

Get Your Feet On – Opening with immediacy and rhythm, a more narrative thread, with the same sense of ingrained feeling. Underlined by a strong bass line. Again, hints of those old LA screams come in to play, at times. Just a clearly impassioned performance.

Spiritually Bankrupt – Following on, with absolute flow, gentle strumming accompanies softer vocal tones, verbalising meaningful lyrics. Very plausible intent. A softer track, loaded with sincerity, purpose and warmth. A tad repetitive, but still, it’s an affecting track.

Overall – Showcasing the maturity of sound and delivery borne of many years experience and time spent perfecting his art, ‘IIB’ is a feat of achievement, incomparable to many modern soundalike albums, sporting a unique insignia and a humility rarely encountered. Melodically comforting and still diverse, there’s something for all in ‘IIB’.

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

For fans of The Virginmary’s, The Beatles, John Mayall’s Blues Explosion, Paul Weller, Mark Bolan’s T Rex, Smoking Martha, Superseed, the late JR Blunk, E.G. Vines, Ian Blurton’s Future Now, Rich Kid Express.

Pre-order at: https://www.tobyjepsonofficial.com or https://tobyjepson.bigcartel.com/

Video about the making of ‘IIB’: https://www.youtube.com/watch?v=KT-oDKQwgCl



Posted June 26, 2020 by jennytate in Uncategorized

A Ritual Spirit – ‘Broken/Disappear’   Leave a comment

Released on 26th June 2020, ‘Broken/Disappear’ is the new single and video from Edinburgh-based rock band, A Ritual Spirit.

Around since 2011, ARS have played Bloodstock Open Air Festival, Wildfire and Out Of The Ashes Festivals. In addition, they’ve toured the UK, sharing the stage with the likes of Warrior Soul, Dead Label, Falling Red, The Rocket Dolls and more.

Releases, to date, include 2013’s ‘Carnival Carnivorous’ album, (accessible digitally), 2019’s ‘The Antidote’ EP and several other productions, on their label, Disposable Noise.

The new single is the 2nd track from ‘TA’ and is combined with an independently produced ‘lockdown’ lyric video, incorporating live shots, some making of material, aspects of the past video, ‘Sacrifice’ and tour footage from the last year and a half.

Produced, engineered, mixed and mastered by Bryan Ramage (Ramage Inc).

Broken/Disappear – Introing with an action chase scene sound track. Smooth, laid-back delivery. Melodic, gritty vocals, mid-paced, with alternating moods. Mainly upbeat, with some slightly more poignant sections and a decent riff solo. Carefully timed drumming. Quite a driven sound, with good flow. Casual, yet still convincing. Ending on a soaring, uplifting riff. An easy listen, perfect for summer afternoon drives.

8/10 ********

For fans of Bryan Adams, Kenny Loggins, The Rembrandts.



ARS 2019 hi res

ARS behind 2019 hi res

Posted June 24, 2020 by jennytate in Uncategorized

Bombscare – ‘Bastions Of Blood’   Leave a comment

Bombscare came into being at the latter end of 2013. Originally, a duo of brothers, they later grew into a quartet. A tour accompanied the debut album, ‘T-Minus’. ‘Bastions Of Blood’ is the current release, launched on 22nd March 2020. It can be streamed from the band’s website and physical CDs are available.

The Advent (Intro) – Huge slab of metal introing. Very heavy stuff, right from the off. Ace riffage blitzes through the track, with electrifying energy. Ending slightly too abruptly, instant cutting impression.

Cognitive Split – Similarly deep, heavy intro, slightly Sabbath-esque, with sharp, high-pitched riffing. This is a sound of a band at the top of their game. Crazed drumming, striking vocals, unique, in their pitch and edge. Combining screamo sections with spoken word and thrash effect lyrics, it’s a totally individual angle. Like Gomez Addams, playing a James Bond baddie, while the riffs scream, in the background. Good bit of bass in there, joined by cymbals and siren-esque whammy. Ending on a smooth fade-out riff.

Shadow Nocturne – Opening on an emerging sound of tribal drum beats and creeping menace. Then the sharp riffs and incensed drumming take over. More aggressive edge to those vocals now. Real intent just drives this forward, making great use of the whammy again. Good scale ascent and descent demo. Slightly more rhythm. Drums going insane, building the power and intensity, till a searing riff takes over. Vocals growing ever more enraged and evil. Very thrashy and bloody. Ending on strong, definitive drum hits.

Bastions Of Blood – Piercing riffage scales intro! On a level rarely heard, skidding into the attack. Drums taking their place, as a throbbing beat of intent. Immediate vocal aggression powers its way through. High-energy, all the way. Very Testament-esque, with clear Exodus hints. Keeping that rhythmic momentum going, with huge powered quality. The drumming’s a bit more central here. Everything in sync. Riffs getting denser and smokier, with a constant, pounding beat. Taking the pace up, to an exhilarating speed, this is real virtuoso stuff, with enough clear rhythm to make it accessible. More experimental siren riffs, fading out smoothly.

We’re Dicks (Forced Entry Cover) – Solid, violent drum hits intro, yielding to incredible riffage. Again, that siren sound returns. Great title and great anthemic vocal harmonies, with the solo Gomez sound reappearing. Well-placed deep, heavy bass in here, picking up the speed, to a party metal level, with awesome comedy vocals). Brilliant closing screams.

Overall – Insanely good fun, consistently high-energy, throughout and just a massively memorable album, ‘BOB’ is one of the most exciting things you’ll hear this year.

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

For fans of Testament, Black Sabbath, Exodus, Municipal Waste, D.R.I., Iron Monkey, Anthrax.


Posted June 23, 2020 by jennytate in Uncategorized

Black Passage – ‘The Veil’   Leave a comment

An emerging Bay Area band, with extensive industry experience, Black Passage now offer up their debut track and video, ‘The Veil’.

With contributions from Fallujah, Wolf King, Behold The Desecration and Anisoptera members, ‘TV’ is a combo of this accumulated experience, created in an accessible way.

The main composer, guitarist Kevin Wilson incorporates all the individual twists and turns of each member within the sound that is BP.

The band’s ethos is in highlighting the superficiality which has crept into the metal scene and also in bringing a relatable, reachable sound to audiences, through a varied blend of rock and metal sub-genres. This approach attempts to introduce a fresh, modern vibe to the industry.

The Veil – Introing with a sound effect of burning ashes, moving into a solemn sound, matched by a dark background. Surprisingly maudlin, funereal atmosphere. Suddenly, breaking through the darkness, with a tearing death section. Not lasting long, before the misery returns. Very vocally and instrumentally Radiohead-esque, shot through with hints of Coldplay. Visually morbid, filled with grey headstones, dark places, downbeat tones and dim light, in the shadows. Lyrically sombre, slightly Verve-esque, in places. Ending on the same monotonous tones with which it opened. A well produced and performed, but thoroughly miserable track, destined to lower your mood.

6/10 ******

For fans of Radiohead, The Verve, Coldplay, Liholesie, Latitudes, Dirge, MANES.


Posted June 22, 2020 by jennytate in Uncategorized

Fore – ‘What’s Right For You’   Leave a comment

New punk band Fore, featuring ex-Kreator bassist Christian ‘Speesy’ Giesler, Jeramie Kling, of Venom Inc, Massacre, The Absence, Taylor Nordberg, also of Massacre and The Absence and Brian Stephenson (Old James, Skull Fist), offer up their new track, ‘What’s Right For You’.
The track ‘Today We Rise’ (No Tomorrow), also newly released, is available to stream and buy, on the Bandcamp page.

Fore was influenced by the sounds of 80’s/90’s punk bands, such as Bad Religion, Pennywise, The Offspring, NOFX.

The guys had previously worked together, for the ‘One Song In One Day’ series, during quarantine and built an instant connection.

It’s only taken approximately 5/6 weeks to mould and develop the notion and sound of Fore.

Previous material, including their debut album, was independently produced, at Nordberg and Kling’s Smoke & Mirrors Productions, at Florida’s Spring Hill.

What’s Right For You – Immediate, upbeat, speed freak freneticism intro’s. Very Offspring-esque. Big melodies and heaps of power. A proper riff fest of party metal fun. Definite crowd-pleaser. Fast-paced rhythm and high-energy delivery. Short, but to the point and very revealing. Catch all lyrics, engagingly vocalised. One to play again and again and then play some more, till it burns itself out.

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

For fans of The Offspring, Mind Patrol.


Posted June 21, 2020 by jennytate in Uncategorized

Elysian Divide – ‘Loser’   Leave a comment

Combining nu-metal, with party pop rock and the heaviness of low-tuned guitars, Elysian Divide bring a more modern, imaginative sound to the scene. The female fronted band walk the line between the extremes of hard rock/heavy metal, incorporating numerous inspirations, such as In This Moment, Pantera, Machine Head, Insomnium and In Flames. Their unique touch draws on a potent blend of all the above styles and their own powerful interpretation.

Becoming known for the explosive nature of their live performances, ED take their deepest musical sense from the bands whose sounds encapsulated the 90’s era.

Taken from their 2019 EP, ‘Beast’, the track ‘Loser’ is their current single, due for release on 19th July 2020.

Engineered and produced by Jon-Paul McCarthy, mixed by Arthur Indrikovs (http://arthursoundengineer.com), ‘Loser’ is proof of ED’s traditional, authentic recording processes.

ED are a 5 piece band.

Loser – Straight out, full on attack! Metal as hell. Powerfully aggressive, fiery, Halestorm-esque vocals. Great explosive riffs, playing in perfect sync with the vocals. This is one strong track. Pure fire. So much passion. A relentless metallic fest. Stacked with melody, sharp lyrical assaults and a gorgeous bit of whammy. Moving down into the lower range of riffage and seamlessly, climbing right back up again, this is just vicious, riven with epic power screams and it hits the spot hard.

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

For fans of Halestorm, Hole, L7, Vixen, Jane’s Addiction, Skunk Anansie, Suzy Quatro.


http://www.fatangel.co.uk   (PR).

Band Shot

Posted June 19, 2020 by jennytate in Uncategorized

Mothers Of The Land – ‘Hunting Grounds’   Leave a comment

An instrumental psych rock quartet, originating in Vienna, in 2012, Mothers Of The Land was founded by Georg Pluschkowitz (Pastor, guitar), Johannes ‘Jon’ Zeininger (bass) and Jakob Haug (drums). A second guitarist, Jack Hindra (Locracy) was added in 2015. Their debut live album, ‘Temple Without Walls’ landed in June 2016, to widespread global acclaim.

They’ve previously performed alongside headliners such as Asteroid, Elder and Red Fang. MOTL play memorable shows, engaging fans, with their imaginative sounds.

Their next album, ‘Hunting Grounds’, is launched on 19th June 2020, on Stonefree Records.

In anticipation of ‘HG’, the single ‘Sanctuary’ is already available, on YouTube and as a vinyl pre-order, limited edition, (300 copies), digipak, download on SR’s store and Bandcamp.

Having gained successful ground, as a strong band, creating solid classic rock sagas, based on twin guitar psychedelic twists, through ‘HG’, they bring otherworldly, restful catharsis.

Artwork by Dr Knoche. Recording and mixing – Nino del Carlo. Mastering – Lukas Wiltschko – LW Sonics.

Harvest – Medieval, baroque style intro. Steady paced rhythm. Gradually speeding up, with a well constructed riff section and some light cymbals in the background. Moving into a slightly stronger amped up sound. Surprisingly workable combo of olde worlde feel and lightly delivered riffage. Quite an attractive track, with a soft, but confident atmosphere.

Hunting Grounds – Bass intro, very much reminiscent of Fleetwood Mac’s ‘The Chain’. Lively and bluesy, with an upbeat twang. A sound to get lost in. Carefully timed, highly and enjoyably melodic and stacked with groove. Classic and beautiful, in its simplicity, carrying a slight Celtic sense, it’s uplifting and really in tune with the mood of the moment. Its structure’s spot on and it’s very centred and riff focused. Just a gorgeous track, very velveteen, in delivery.

The Beast – Opening on a harder slant now. Driven and the riffs just carry it, straight into an aural soundscape. Something very journey-esque about this and those riffs are so smooth. Loving the centralisation of the melody. Slight tribal drum beats, taking you into a forest. Still, retaining a haunting sense of mystery to the sound. Mid-paced number, with more of that delicious groove and a bit of in and out speaker action, setting up a call and response accompaniment. Intrigue and an edge of wah, bringing it to an end.

Queen Of The Den – Low toned bass and acoustic chords introing. Then moving, swiftly, into another melodically full sound. There’s a vibrancy to this, which really delights the senses. It’s very much an act of intuitive cohesion, to the point of musical telepathy. Liking that tasty wobble). A truly cathartic track and again, that slight enigmatic sense to it. Absolutely driven by the melody. Ending on a perfect harmony, fading out on gentle riff tones.

Sanctuary – Instantly flowing intro, like being carried gently down stream. From there, into a similar melody, keeping the cymbals light, again, with the softest touch. Skilled and adept, natural performance. Adding another bit of wah, building it up, carefully, into another heightened melody. Drums purposely gentle and always, the rhythm’s steadfast. Real skill and passion shines through. So deftly handled, this is love, in the truest sense of the word. Some beautiful notes in there and a totally flawless performance. Picking up the intensity, before taking it back to that more relaxed pace and feel. Finally floating into a gorgeous soft outro.

Showdown – Starting off with a stronger, traditional rock drum roll and bluesy riffage. Early rock moods here. A lot of fun to be had in that faster rhythm and even a touch of psychedelia. Really riff-driven again, with a heavier edge. Bluesy twang, once more. Just a very inviting sound, with the warmth of a physical embrace. Steadily climbing those scales, with precision. Huge sense of fun and freedom to the arrangements, growing livelier, as it continues. Racing towards the end, it returns to that connecting call and response, as the drums move in and out, in sync with the riffs. Getting lost inside itself, as it drives itself on, to the end, with the riffs once more taking centre stage and the drums unite with them, for one last hit.

Overall – The most beautifully played instrumental album I’ve heard in a long time, channelling everything from early Dire Straits, to Deep Purple, UFO and B.O.C., ‘HG’ is a pure pleasure to hear, both restful and lively, with an abundance of melody, engaging the senses.

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

For fans of Dire Straits, Deep Purple, UFO, B.O.C., The Doors, Hendrix, Captain Horizon, Fleetwood Mac.


Landing Page


Posted June 18, 2020 by jennytate in Uncategorized

Farewell To Fear – ‘I Won’t Be Your Tragedy’   Leave a comment

Ahead of its radio premiere, on June 23rd, 2020, ‘I Won’t Be Your Tragedy’, by Farewell To Fear, is now released on YouTube video. The track was produced in response to the widespread feelings of society, towards the Covid 19 crisis.

Featuring riffage by ex Flaw and Tantric’s Tommy Gibbon, it’s a solid track, with an impactful message.

Having gained positive media acclaim, ‘IWBYT’ is perceived as setting a precedent for future times. Accessible and engaging, the video instantly transports listeners into the world within it.

Rapidly increasing in popularity, ‘IWBYT’ has so far amassed 50,000 plus spotify streams. It’s also been broadcast in several countries and can be requested by listeners.

Forthcoming tour dates in Orlando, on September 16–18th, including a Rebel Rock Fest appearance, will see FTF play alongside Judas Priest, Machine Gun Kelly, Sevendust, Trivium, Light The Torch, Skillet, All The Remains, Limp Bizkit, Saul, etc.

The band plugged the gap left by the temporary departure from the scene of major grunge acts, such as Pearl Jam, Alice In Chains and Soundgarden. Introducing a fresh approach, with soaring sounds, catchy hooks and anthemic melodies, FTF takes a trip back in time, to that same era of rock.

‘New Blood’, FTF’s debut album, secured them unprecedented online attention, for an unsigned band, including landing number 1 on Amazon’s Hot New Rock Singles Chart, number 8 on iTunes Rock Chart and 1 million spotify streams of their track ‘Diamonds’, played in full, by the renowned Howard Stern.

Other achievements to date include playing to audiences of thousands, opening for Sevendust and PopEvil, playing on Monster Energy’s ‘Welcome To Rockville’, where they performed alongside AIC, Three Days Grace, Papa Roach, Nonpoint, etc.

Since their latest EP, ‘Legacy’, FTF have been composing and recording, feverishly, in a bid to produce powerful, catchy, versatile sucker punch tracks, designed to engrave your consciousness, forever.

The recent album ‘Voices’, produced by Damien Starkey (Burn Season, Puddle Of Mudd) is available now, through Pavement Entertainment and has lifted the band’s sound.

The single ‘Underneath My Skin’ hit number 29 on Billboard MRI and number 11, on Foundations SMR Charts, with 971 plays, during peak week.

FTF are on all usual streaming and other online platforms.

I Won’t Be Your Tragedy – Abrupt intro, straight into a synth filled melody, with powerful drumming and riffage in the background. The rhythm’s its central hit. Surprisingly melancholy vocals. Poignant lyrics and it’s a little 80’s pop-esque. Still very memorable, though and there is a slight grunge slant to it. Vocal style more pop than rock, but it’s a well-defined emotive thread. Accompaniments rockier than vocals, but they’re still well performed, through effective lyrics. Audio quality’s good and it does have a soaring sense within it. Just an unusually lighter, yet more depressingly desolate sound than expected.

7/10 *******

For fans of Death Blooms, Leading Light, Latitudes, Becoming The Lion, Deified.



Posted June 18, 2020 by jennytate in Uncategorized