MARCH / APRIL 2017
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PRINTED ISSUE OUT SOON !!!
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CRATOR – CD 2016
“The Ones Who Create, The Ones Who Destroy”
label: private
songs: The Ouroboros Is Broken / Judge On War / The Ones Who Create, The Ones Who Destroy / The Great Stagnation / The Sixth Genocide / The Noble Lie / The Collective / The Echo That Conquers Voice / The Unquiet Sky //
web: https://crator.bigcartel.com/
Debut album by this NYC Death Metal act Crator whose members have been actively involved in various other bands. Crator have addressed to extreme Progressive DeathMetal that is very intense and technical. Further gauging their concept, it sounds like an amalgam of Modern style and Progressive DeathMetal that is given value by showers of technical fillers, continuous shape-shifting, hyper mode double bass-drums, blast beats ,deep gurgling grunts, and screamy raps. The drummage of John Longstreth is superb, feeding the music with a non-stop mobility in drum patterns and a whole lot of rhythmic modes. The guitars are not downtoned, but typically Progressive like with mostly minor scales and a Thrash like feedback, both of which are clearly spotlighted on the extreme Fusion-meets-DeathMetal esque “Judge On War” with the bass-guitar high up in mobility as well. A more tempered, and slower-paced approach is showcased on the titletrack with almost Thrash like moments if it wasn't for the brutally extreme vocals! Crator's music is of the highest standard in technicality and timing and their performance is flawless. Impressive.
Paul van der Burght
“The Ones Who Create, The Ones Who Destroy”
label: private
songs: The Ouroboros Is Broken / Judge On War / The Ones Who Create, The Ones Who Destroy / The Great Stagnation / The Sixth Genocide / The Noble Lie / The Collective / The Echo That Conquers Voice / The Unquiet Sky //
web: https://crator.bigcartel.com/
Debut album by this NYC Death Metal act Crator whose members have been actively involved in various other bands. Crator have addressed to extreme Progressive DeathMetal that is very intense and technical. Further gauging their concept, it sounds like an amalgam of Modern style and Progressive DeathMetal that is given value by showers of technical fillers, continuous shape-shifting, hyper mode double bass-drums, blast beats ,deep gurgling grunts, and screamy raps. The drummage of John Longstreth is superb, feeding the music with a non-stop mobility in drum patterns and a whole lot of rhythmic modes. The guitars are not downtoned, but typically Progressive like with mostly minor scales and a Thrash like feedback, both of which are clearly spotlighted on the extreme Fusion-meets-DeathMetal esque “Judge On War” with the bass-guitar high up in mobility as well. A more tempered, and slower-paced approach is showcased on the titletrack with almost Thrash like moments if it wasn't for the brutally extreme vocals! Crator's music is of the highest standard in technicality and timing and their performance is flawless. Impressive.
Paul van der Burght
ANDE – CD BEL 2017 “Het Gebeente”
label: private
songs: Intrede / Argwaan / Gebukt / Oud En Vet / Leeg / Uittrede //
web: https://ande-be.bandcamp.com/
Follow-up to the 2015 “Licht” album by this Belgium based one-man project. After an intro, “Intrede” which is a dark, atmospheric piano-only piece, Ande goes full on the blast beat thing with “Argwaan”; an extreme and primitive styled old-school BlackMetaler with a 'dolby' like basement production that adds up to the classic sound that strongly hints at Bathory. The guitars aren't thin or trebly but quite deep and muffled, and go in about the same pitch as the 'extreme' rasp vocalage. The faster modes here are alternated with atmospheric sectioning which brings a nice diversity covering song durations that go from 4 and 7+ minutes, all the way up to 08:25 minutes (“Argwaan”). “Gebukt” increases on the atmospheric element with semi Doom notes running underneath its slow tempo whilst “Oud En Vet” reveals the HardCore element of old-school BlackMetal, patterned upon bar-riffs and a mid/up-tempo with GrindCore-ish vocals. Strong point of “Het Gebeente” is the variation in appearances without it being detrimental to the all-round BlackMetal factor. Cool.
Paul van der Burght
label: private
songs: Intrede / Argwaan / Gebukt / Oud En Vet / Leeg / Uittrede //
web: https://ande-be.bandcamp.com/
Follow-up to the 2015 “Licht” album by this Belgium based one-man project. After an intro, “Intrede” which is a dark, atmospheric piano-only piece, Ande goes full on the blast beat thing with “Argwaan”; an extreme and primitive styled old-school BlackMetaler with a 'dolby' like basement production that adds up to the classic sound that strongly hints at Bathory. The guitars aren't thin or trebly but quite deep and muffled, and go in about the same pitch as the 'extreme' rasp vocalage. The faster modes here are alternated with atmospheric sectioning which brings a nice diversity covering song durations that go from 4 and 7+ minutes, all the way up to 08:25 minutes (“Argwaan”). “Gebukt” increases on the atmospheric element with semi Doom notes running underneath its slow tempo whilst “Oud En Vet” reveals the HardCore element of old-school BlackMetal, patterned upon bar-riffs and a mid/up-tempo with GrindCore-ish vocals. Strong point of “Het Gebeente” is the variation in appearances without it being detrimental to the all-round BlackMetal factor. Cool.
Paul van der Burght
SATAN'S HALLOW – 2017 “SATAN'S HALLOW”
label: Underground Power www.underground-power.de
songs: Reaching For The Night / Choir Of The Cursed / Hot Passion / Black Angel / Satan's Hallow / The Horror / Moving On / Still Alive / Beyond The Bells /
web: https://www.facebook.com/satanshallow/
The opening track, “Reaching For The Night” indicates what the concept on this selftitled 9 songer is all about... Rolling on a Savage Grace esque riff and drive, this upbeat semi-Headbanger has traditional Metal written all over, employing a classic, Euro-Metal inspired U.S. Metal sound. The rhythmic, mid-paced “Choir Of The Damned” displays the Maiden influence at large, clicking with the “Powerslave” sound. The classic riff-based and mid-paced programming of “Hot Passion” has a strong, melodic NWOBHM kick, and next one up, “Black Angel” continues on the riff-based theme in a classic HardRock / Metal fashion. A thing that is taken a step further with the catchy, Rainbow tinged “Satan's Hallow”, showing strong similarities to “Lady Starstruck”. Minus the PowerBallad that is “Still Alive”, the tempo is up to Euro-Metal Headbang modus down the next batch of tracks, “The Horror” (previously appearing on their 7” single coupling “Satan's Hallow”), “Moving On” (sporting a certain resemblance to Brainfever and Accept), and the scorcher “Beyond The Bells”, clicking with classic Euro-SpeedMetalers Evil. This is one most entertaining, traditional Metal album that is drenched in 80's Euro-Metal and Euro inspired U.S. Metal. Think a mix of Lizzy Borden, Savage Grace, Fates Warning, Maiden and Evil, dressed with Doro-esque vocals (by female singer Mandy Martillo), plenty of harmonized guitar hooks and nice, balanced solo-action. This album will – without a doubt – airlift Satan's Hallow as prime, traditional minded Metal band. Strong!
Paul van der Burght
label: Underground Power www.underground-power.de
songs: Reaching For The Night / Choir Of The Cursed / Hot Passion / Black Angel / Satan's Hallow / The Horror / Moving On / Still Alive / Beyond The Bells /
web: https://www.facebook.com/satanshallow/
The opening track, “Reaching For The Night” indicates what the concept on this selftitled 9 songer is all about... Rolling on a Savage Grace esque riff and drive, this upbeat semi-Headbanger has traditional Metal written all over, employing a classic, Euro-Metal inspired U.S. Metal sound. The rhythmic, mid-paced “Choir Of The Damned” displays the Maiden influence at large, clicking with the “Powerslave” sound. The classic riff-based and mid-paced programming of “Hot Passion” has a strong, melodic NWOBHM kick, and next one up, “Black Angel” continues on the riff-based theme in a classic HardRock / Metal fashion. A thing that is taken a step further with the catchy, Rainbow tinged “Satan's Hallow”, showing strong similarities to “Lady Starstruck”. Minus the PowerBallad that is “Still Alive”, the tempo is up to Euro-Metal Headbang modus down the next batch of tracks, “The Horror” (previously appearing on their 7” single coupling “Satan's Hallow”), “Moving On” (sporting a certain resemblance to Brainfever and Accept), and the scorcher “Beyond The Bells”, clicking with classic Euro-SpeedMetalers Evil. This is one most entertaining, traditional Metal album that is drenched in 80's Euro-Metal and Euro inspired U.S. Metal. Think a mix of Lizzy Borden, Savage Grace, Fates Warning, Maiden and Evil, dressed with Doro-esque vocals (by female singer Mandy Martillo), plenty of harmonized guitar hooks and nice, balanced solo-action. This album will – without a doubt – airlift Satan's Hallow as prime, traditional minded Metal band. Strong!
Paul van der Burght
LADY BEAST – EP 2016 “Metal Martyr”
label: Infernö Records http://www.inferno-records.net/
songs: Metal Martyr / The Devil's Due / Lady Of The Battle / Not This Time //
web: https://ladybeast.bandcamp.com/
Latest work from this female fronted, Pennsylvania based band, that is all rooted in traditional Metal / PowerMetal with a strong, European backbone and traces of NWOBHM. All this straightly sparks off the opening theme of its titletrack; a driven, double bass drummed Euro Headbanger that is showered with NWOBHM styled twin guitars and laced with melodic features; a thing that is repeated on follow-up tune “The Devil's Due” with the warm, and slightly dramatic layered vocals of singer Deborah Levine further slipping into the melodic modus. This galloping number has all the European features the way that early - mid 80's US Metal bands used to implement this. With these characteristics phased comes an Omen – meets – Iron Maiden type sound that works really well. “Lady Of The Battle” is a driven US PowerMetal number with the vocals of Deborah roughed up, making a perfect match for the nature of the song. “Not This Time” furthers on the US PowerMetal thing in a moderately fast pace with rhythm riffed guitars tipping the song slightly over towards US SpeedMetal with traces of Heathen and Mox Nix. Great.
Paul van der Burght
label: Infernö Records http://www.inferno-records.net/
songs: Metal Martyr / The Devil's Due / Lady Of The Battle / Not This Time //
web: https://ladybeast.bandcamp.com/
Latest work from this female fronted, Pennsylvania based band, that is all rooted in traditional Metal / PowerMetal with a strong, European backbone and traces of NWOBHM. All this straightly sparks off the opening theme of its titletrack; a driven, double bass drummed Euro Headbanger that is showered with NWOBHM styled twin guitars and laced with melodic features; a thing that is repeated on follow-up tune “The Devil's Due” with the warm, and slightly dramatic layered vocals of singer Deborah Levine further slipping into the melodic modus. This galloping number has all the European features the way that early - mid 80's US Metal bands used to implement this. With these characteristics phased comes an Omen – meets – Iron Maiden type sound that works really well. “Lady Of The Battle” is a driven US PowerMetal number with the vocals of Deborah roughed up, making a perfect match for the nature of the song. “Not This Time” furthers on the US PowerMetal thing in a moderately fast pace with rhythm riffed guitars tipping the song slightly over towards US SpeedMetal with traces of Heathen and Mox Nix. Great.
Paul van der Burght
SIN STARLETT – CD 2016 “Digital Overload”
label: Emanes Metal records http://www.emanesmetalrecords.com/
songs: Electric Expander / Tear Down The Halls / Force And Thunder / Digital Overload / Savage Nightshifts / The Last Straw / Righteous Saviours / Sideway Warriors //
web: https://www.facebook.com/sinstarlett/
“Digital Overload”, the third full-lengther by Swiss act Sin Starlett, is one very competent and properly played Heavy Metal affair in the 80's tradition with a strong likeness to the Euro Metal sound. This concept is omnipresent and patterned upon easy going, repeat riff-based themes with catchy grooves and driving beats that make this thing really pleasant on the ear. There's a good, allround differentiation in the set with a preference for the faster spectrum of tempos. The action starts straight away with the all-out European mould upbeat Metaler “Electric Expander, the Picture esque “Tear Down The Walls”, and the Accept-meets-Malice tinged, moderately fast paced semi-Headbanger “Force And Thunder”. The click with Malice mostly comes off the European sound, and the slightly lower toned, Halford type vocalage featuring a good delivery, a strong vibrato and the higher pitched yells. On it goes with the gripping Headbanger “Digital Overload” and the “Painkiller” (Priest) tinged “Savage Nightshifts” tending towards US PowerMetal, as is the driven riff Monster “Righteous Saviours” and the energetic “Sideway Warriors” that sort of sounds like a mix of Malice and Metal Church. Each and every song on this album is a winner and even the Power-ballad that is “The Last Straw”, is powered up in PowerMetal fashion during its mid-section. “Digital Overload” is as good as old-school Metal gets. Sin Starlett have a knack for writing energetic, direct-access tunes that come with all the trimmings, including muscular vocals, sticky riff-themes and some tasty, allround guitarwork. Excellent! 10/10
Paul van der Burght
label: Emanes Metal records http://www.emanesmetalrecords.com/
songs: Electric Expander / Tear Down The Halls / Force And Thunder / Digital Overload / Savage Nightshifts / The Last Straw / Righteous Saviours / Sideway Warriors //
web: https://www.facebook.com/sinstarlett/
“Digital Overload”, the third full-lengther by Swiss act Sin Starlett, is one very competent and properly played Heavy Metal affair in the 80's tradition with a strong likeness to the Euro Metal sound. This concept is omnipresent and patterned upon easy going, repeat riff-based themes with catchy grooves and driving beats that make this thing really pleasant on the ear. There's a good, allround differentiation in the set with a preference for the faster spectrum of tempos. The action starts straight away with the all-out European mould upbeat Metaler “Electric Expander, the Picture esque “Tear Down The Walls”, and the Accept-meets-Malice tinged, moderately fast paced semi-Headbanger “Force And Thunder”. The click with Malice mostly comes off the European sound, and the slightly lower toned, Halford type vocalage featuring a good delivery, a strong vibrato and the higher pitched yells. On it goes with the gripping Headbanger “Digital Overload” and the “Painkiller” (Priest) tinged “Savage Nightshifts” tending towards US PowerMetal, as is the driven riff Monster “Righteous Saviours” and the energetic “Sideway Warriors” that sort of sounds like a mix of Malice and Metal Church. Each and every song on this album is a winner and even the Power-ballad that is “The Last Straw”, is powered up in PowerMetal fashion during its mid-section. “Digital Overload” is as good as old-school Metal gets. Sin Starlett have a knack for writing energetic, direct-access tunes that come with all the trimmings, including muscular vocals, sticky riff-themes and some tasty, allround guitarwork. Excellent! 10/10
Paul van der Burght
ANCESTRAL – CD 2017 “Master Of Fate”
label: Iron Shield records
songs: Back to Life / Wind Of Egadi / Seven Months Of Siege / Master Of Fate / Refuge Of Souls / Lust For Supremacy / No More Regrets / On the Route Of Death / From Beyond / Savage (Helloween cover) //
web: http://www.ancestral.it
Bridging a 10 year gap between their 1st full-length album and this one, Italian act Ancestral have stayed true to their origins, addressing to a most agile and energetic format of melodic edged Power / SpeedMetal tending towards Thrash down “On The Route Of Death”. The material of Ancestral is largely guitar oriented, showered with blistering guitar action, fast rhythm riffage, twin melodies and a full-instrumental - “Refuge Of Souls” - coupling subtlety and speed driven fragments. The Helloween inspiration is pretty much omnipresent and highlighted on the melodic Speedster “Master Of Fate”, the German PowerMetal styled “Lust For Supremacy”, and most obviously, the Helloween cover “Savage”. There's also hints of Agent Steel running through the set, as evidenced on the Power / SpeedMetaler “Back To Life” and the double-tempo type “Wind Of Egadi”. A significant element throughout is the double-bassdrum action that fuels the greater part of the album. The vocalage of Jo Lombardo is completely in accordance with the genre, producing an upper mid-range voice with high falsettos and a good, allround vibrato, much in the styles of Helloween, particularly in the choruses. Overall, musicianship and performance is tip-top with a strong, technical sense without overdoing it. The subtle, more melodic moments nicely balance out the faster moments and are pushed forward down the Power balladry of “No More Regrets”. This is one very convincing Power / SpeedMetal album that comes with all the trimmings. Great stuff that will particularly please fans of Helloween and Agent Steel.
Paul van der Burght
label: Iron Shield records
songs: Back to Life / Wind Of Egadi / Seven Months Of Siege / Master Of Fate / Refuge Of Souls / Lust For Supremacy / No More Regrets / On the Route Of Death / From Beyond / Savage (Helloween cover) //
web: http://www.ancestral.it
Bridging a 10 year gap between their 1st full-length album and this one, Italian act Ancestral have stayed true to their origins, addressing to a most agile and energetic format of melodic edged Power / SpeedMetal tending towards Thrash down “On The Route Of Death”. The material of Ancestral is largely guitar oriented, showered with blistering guitar action, fast rhythm riffage, twin melodies and a full-instrumental - “Refuge Of Souls” - coupling subtlety and speed driven fragments. The Helloween inspiration is pretty much omnipresent and highlighted on the melodic Speedster “Master Of Fate”, the German PowerMetal styled “Lust For Supremacy”, and most obviously, the Helloween cover “Savage”. There's also hints of Agent Steel running through the set, as evidenced on the Power / SpeedMetaler “Back To Life” and the double-tempo type “Wind Of Egadi”. A significant element throughout is the double-bassdrum action that fuels the greater part of the album. The vocalage of Jo Lombardo is completely in accordance with the genre, producing an upper mid-range voice with high falsettos and a good, allround vibrato, much in the styles of Helloween, particularly in the choruses. Overall, musicianship and performance is tip-top with a strong, technical sense without overdoing it. The subtle, more melodic moments nicely balance out the faster moments and are pushed forward down the Power balladry of “No More Regrets”. This is one very convincing Power / SpeedMetal album that comes with all the trimmings. Great stuff that will particularly please fans of Helloween and Agent Steel.
Paul van der Burght
HITTEN – 2016 “State Of Shock”
label: No Remorse records
songs: Wrong Side Of Heaven / Don't Be Late / Can't Bring Me Down / Victim Of The Night / Rites Of The Priest / State Of Shock / Liar / Endless Race / Chained To Insanity / Eternal Force (featuring Todd Michael Hall)//
web: https://hittenheavymetal.bandcamp.com/
Spanish act Hitten are at it again with their second, full-length offering, engaging some 80's flavoured melodic Power Metal / SpeedMetal in the European tradition and in particularly the Swedish / Scandinavian sound of old. Equally, Hitten runs parallel with mid 80's, European inspired U.S. Metal, referring to “Wrong Side Of Heaven”, the rhythmic “Rites Of The Priest” which could have been taken off any early Omen album, and the double bass driven, rhythm riffed melodic SpeedMetaler “Can't Bring Me Down” that strongly reminds of Heathen. Structurally and instrumentally, the 'State Of Shock' album is a product well taken care of; the whole deal is energetic, catchy and largely guitar oriented with great, balanced guitar flash, sweep picking and harmonized leads. There's a lot going on in the vocal department, featuring triple sung / mixed lead vocals in different tones with the lead lines operating in a nice and semi-hoarse, (upper) mid range tone with a melodic appearance and a nice vibrato, moving somewhere in between Omen and Heathen. Set wise, “State Of Shock” offers a good balance between up-tempo tracks and speed-driven workouts in a 50 / 50 measure. In all, a very complete and convincing album with a high entertainment value. Great.
Paul van der Burght
label: No Remorse records
songs: Wrong Side Of Heaven / Don't Be Late / Can't Bring Me Down / Victim Of The Night / Rites Of The Priest / State Of Shock / Liar / Endless Race / Chained To Insanity / Eternal Force (featuring Todd Michael Hall)//
web: https://hittenheavymetal.bandcamp.com/
Spanish act Hitten are at it again with their second, full-length offering, engaging some 80's flavoured melodic Power Metal / SpeedMetal in the European tradition and in particularly the Swedish / Scandinavian sound of old. Equally, Hitten runs parallel with mid 80's, European inspired U.S. Metal, referring to “Wrong Side Of Heaven”, the rhythmic “Rites Of The Priest” which could have been taken off any early Omen album, and the double bass driven, rhythm riffed melodic SpeedMetaler “Can't Bring Me Down” that strongly reminds of Heathen. Structurally and instrumentally, the 'State Of Shock' album is a product well taken care of; the whole deal is energetic, catchy and largely guitar oriented with great, balanced guitar flash, sweep picking and harmonized leads. There's a lot going on in the vocal department, featuring triple sung / mixed lead vocals in different tones with the lead lines operating in a nice and semi-hoarse, (upper) mid range tone with a melodic appearance and a nice vibrato, moving somewhere in between Omen and Heathen. Set wise, “State Of Shock” offers a good balance between up-tempo tracks and speed-driven workouts in a 50 / 50 measure. In all, a very complete and convincing album with a high entertainment value. Great.
Paul van der Burght
STRIKER- CD 2017 “Striker”
label: record breaking records
songs: Former Glory / Pass Me By / Born To Lose / Cheating Death / Shadows In The Light / Rock The Night / Over The Top / Freedom's Call / Curse Of The Dead / Desire //
web: https://www.facebook.com/strikermetal
Newest outlet by this Canadian 4-piece that manage to continuously impress at a high level, and this 2017, self-titled album is no different. The musical quality, songwriting and performance are superb; never overdone, all in place and in the right proportion with a keen sense for melody, accessibility and power. As such, the album nicely blends melodic laden Heavy Metal tracks such as “Former Glory” and “Rock The Night”, with catchy, double bass driven PowerMetalers (Freedom's Call”, “Over The Top” and “Born To Lose” - with hints of the heavier, early Europe work), and heavier pieces tending towards 90's Thrash / PowerMetal including the Annihilator-esque “Pass Me By” (with some slipped in powergrooves), and the SpeedMetaler “Curse Of The Dead”. The vocals of Dan Cleary are amazing, delivering a crisp and clear, upper-mid range voice that falls somewhere in between Miles Kennedy (Alter Bridge) and Joe Lynn Turner (Rainbow / Malmsteen), the latter which also strongly reflects in the musical concept that comes with a good lot of guitar flash, gripping riffage, harmonized melodies and chunky hooks. This is one very complete and entertaining album that rocks from start to finish with plenty of double-bass drum action to boost the allround energy that runs through the set. Brilliant!
Paul van der Burght
label: record breaking records
songs: Former Glory / Pass Me By / Born To Lose / Cheating Death / Shadows In The Light / Rock The Night / Over The Top / Freedom's Call / Curse Of The Dead / Desire //
web: https://www.facebook.com/strikermetal
Newest outlet by this Canadian 4-piece that manage to continuously impress at a high level, and this 2017, self-titled album is no different. The musical quality, songwriting and performance are superb; never overdone, all in place and in the right proportion with a keen sense for melody, accessibility and power. As such, the album nicely blends melodic laden Heavy Metal tracks such as “Former Glory” and “Rock The Night”, with catchy, double bass driven PowerMetalers (Freedom's Call”, “Over The Top” and “Born To Lose” - with hints of the heavier, early Europe work), and heavier pieces tending towards 90's Thrash / PowerMetal including the Annihilator-esque “Pass Me By” (with some slipped in powergrooves), and the SpeedMetaler “Curse Of The Dead”. The vocals of Dan Cleary are amazing, delivering a crisp and clear, upper-mid range voice that falls somewhere in between Miles Kennedy (Alter Bridge) and Joe Lynn Turner (Rainbow / Malmsteen), the latter which also strongly reflects in the musical concept that comes with a good lot of guitar flash, gripping riffage, harmonized melodies and chunky hooks. This is one very complete and entertaining album that rocks from start to finish with plenty of double-bass drum action to boost the allround energy that runs through the set. Brilliant!
Paul van der Burght
SHIELD BREAKER – CD 2017 “A Warrior's Death Song”
label: private
songs: Odal / The Winter King / The Broken Shield / Ymir's Blood / Jormungandr / Oak Of Battle / A Warrior's Death Song / The Last Stand Of The Free //
web: https://shieldbreaker.bandcamp.com/
Debut album by this Viriginia, U.S.A based band doing an unusual sounding take on the Folk-meets-BlackMetal thing. Underneath this Nordic sphered blanket of far Ancient times and warrior's tales, is this mix of musical styles that is not uncommon; it is just how this band has put it all together with added Gothic modes (“The Winter King”, “The Broken Shield”), plenty of harmonized guitar melodies, and synthesizer. The offbeat twists come in the shape of the synthesizer that occasionally sounds really 'electronic' and 'plastic' (as on the opening theme of its 7 minute titletrack, and the equally long, Nordic laden “Jormungandr”). Secondly; the gaspy BlackMetal rasp vocals are way back in the mix and sound kind of 'weird' without the studio volume or 'vocal muscle' to really deliver. So, although this thing in places sounds much like a 'cheap' computer-programmed affair, it oddly enough manages to trigger this gripping effect as it sounds really captivating and easy on the ear. Better tracks, production and concept wise are the double bass-driven, Viking Metal layered BlackMetal speedster “Ymir's Blood” and the chunky, Nordic Folk infused slow mover “Oak Of Battle”. The Gothic element is pushed forward on the softly mixed Mainstream like “The Broken Shield” that comes complete with piano, Gothic balladry and dramatic guitar melodies in a Rock-ish appearance. The strength of this album lies in the subtle, melodic / harmonized guitar melodies that take up a significant part of the songs. Some elements in the concept of this band band do not entirely convince but oddly enough, that is exactly what makes this thing work. It may not be to everyone's liking but nonetheless an enjoyable and interesting affair to say the least.
Paul van der Burght
label: private
songs: Odal / The Winter King / The Broken Shield / Ymir's Blood / Jormungandr / Oak Of Battle / A Warrior's Death Song / The Last Stand Of The Free //
web: https://shieldbreaker.bandcamp.com/
Debut album by this Viriginia, U.S.A based band doing an unusual sounding take on the Folk-meets-BlackMetal thing. Underneath this Nordic sphered blanket of far Ancient times and warrior's tales, is this mix of musical styles that is not uncommon; it is just how this band has put it all together with added Gothic modes (“The Winter King”, “The Broken Shield”), plenty of harmonized guitar melodies, and synthesizer. The offbeat twists come in the shape of the synthesizer that occasionally sounds really 'electronic' and 'plastic' (as on the opening theme of its 7 minute titletrack, and the equally long, Nordic laden “Jormungandr”). Secondly; the gaspy BlackMetal rasp vocals are way back in the mix and sound kind of 'weird' without the studio volume or 'vocal muscle' to really deliver. So, although this thing in places sounds much like a 'cheap' computer-programmed affair, it oddly enough manages to trigger this gripping effect as it sounds really captivating and easy on the ear. Better tracks, production and concept wise are the double bass-driven, Viking Metal layered BlackMetal speedster “Ymir's Blood” and the chunky, Nordic Folk infused slow mover “Oak Of Battle”. The Gothic element is pushed forward on the softly mixed Mainstream like “The Broken Shield” that comes complete with piano, Gothic balladry and dramatic guitar melodies in a Rock-ish appearance. The strength of this album lies in the subtle, melodic / harmonized guitar melodies that take up a significant part of the songs. Some elements in the concept of this band band do not entirely convince but oddly enough, that is exactly what makes this thing work. It may not be to everyone's liking but nonetheless an enjoyable and interesting affair to say the least.
Paul van der Burght
WHIZKEY STIK – CD 2016 “On The Level”
label: NW Metalworx music http://nwmetalworxmusic.com/
songs: Visions Of The Storm / In Style / More Desire / Song And Dance / Shackles Of Time / You Ain't Nothin' Fancy / Overtime / We Can Lead The Way / Fly Away / Mountain Of Love / Sweet And Sour //
web: https://www.facebook.com/WhizkeyStik/
Debut-album by this American act that shot to fame in the early 80's with the monumental “Outta Line” contributed to the very first U.S. Metal compilation (Shrapnel '81), following the band's first ever vinyl appearance with “Dirty Words” on the radio-station sampler “The KGon Album” ('80). These tracks are not on this 11 songer, but there's plenty of similar, guitar and riff soaked tracks here such as the 70's, Deep Purple styled speedster “Visions Of The Storm”, sporting Hammond and guitar solos, and superb, reach topping vocals a la Glenn Hughes. The moderately paced groovster “Mountain Of Love” has a sticky riff, a toe-tapping beat and the vocals operating in a Glenn Hughes – meets – David Coverdale type fashion that once more moves well up in the higher regions of pitch and tone. Some more traces of old Whitsnake down the traditional HardRocker “Song And Dance”, whilst the melodic undertone is pushed forward down the guitar Rocker “Fly Away”, the Hammond driven “In Style” and the similar styled “Shackles Of Time”. The mid-paced groove-Rocker “More Desire” has this classic US Billboard feel to it with its catchy vibe and sing along theme. The mid-tempo “You Ain't Nothin' Fancy” and “Overtime” go full on the 70's HardRock groove, whilst “We Can Lead the Way” shows a Fusion type approach with matching guitar-action and rhythm section. Simply incredible that material this good has been shelved for decades, but with the sound of old back in the spotlights at present, Whizkey Stik finally have another chance to shine, exactly the way they did in '81. Quality!
Paul van der Burght
label: NW Metalworx music http://nwmetalworxmusic.com/
songs: Visions Of The Storm / In Style / More Desire / Song And Dance / Shackles Of Time / You Ain't Nothin' Fancy / Overtime / We Can Lead The Way / Fly Away / Mountain Of Love / Sweet And Sour //
web: https://www.facebook.com/WhizkeyStik/
Debut-album by this American act that shot to fame in the early 80's with the monumental “Outta Line” contributed to the very first U.S. Metal compilation (Shrapnel '81), following the band's first ever vinyl appearance with “Dirty Words” on the radio-station sampler “The KGon Album” ('80). These tracks are not on this 11 songer, but there's plenty of similar, guitar and riff soaked tracks here such as the 70's, Deep Purple styled speedster “Visions Of The Storm”, sporting Hammond and guitar solos, and superb, reach topping vocals a la Glenn Hughes. The moderately paced groovster “Mountain Of Love” has a sticky riff, a toe-tapping beat and the vocals operating in a Glenn Hughes – meets – David Coverdale type fashion that once more moves well up in the higher regions of pitch and tone. Some more traces of old Whitsnake down the traditional HardRocker “Song And Dance”, whilst the melodic undertone is pushed forward down the guitar Rocker “Fly Away”, the Hammond driven “In Style” and the similar styled “Shackles Of Time”. The mid-paced groove-Rocker “More Desire” has this classic US Billboard feel to it with its catchy vibe and sing along theme. The mid-tempo “You Ain't Nothin' Fancy” and “Overtime” go full on the 70's HardRock groove, whilst “We Can Lead the Way” shows a Fusion type approach with matching guitar-action and rhythm section. Simply incredible that material this good has been shelved for decades, but with the sound of old back in the spotlights at present, Whizkey Stik finally have another chance to shine, exactly the way they did in '81. Quality!
Paul van der Burght
SWEET DANGER – CD 2016 “Women, Leather And Hell”
label: Impaled records https://www.facebook.com/ImpaledRecords/
songs: Invoke The Wicked / Metal Mania / Witch's Brew / Runaway / All Who Dare To Love You / Lust And Madness / Hard n' Heavy / Up To The Grave / Grim Reaper //
web: https://www.facebook.com/sweetdangerheavymetal/
First appearance by this Brazilian 5-piece whose name – derived from an Angel Witch song - already indicates big time that “Women, Leather And Hell” is strongly rooted in the 80's Metal sound. This is evidenced straight away on the driven Metaler “Invoke The Wicked” that couples the likes of Witchfinder General, Candlemass, Mercyful Fate, Accept and Iron Cross. Even though one may suggest a click with Angelwitch, or the NWOBHM in general, this is fairly limited to the opening tune and the anthemic, follow-up track “Metal Mania” that also shows traces of early Anvil (minus the New Wave Of Old School Metal chorus). A slight turn towards Doom is present on the shape shifting “Witch's Brew”, a thing that is complimented by the vocals operating in a narrative fashion with laughter and all. From then onwards, the concept is pretty much patterned upon the very early 80's Euro / German Metal sound with a strong likeness to Accept, as evidenced on the the moderately / mid-paced “All Who Dare To Love You”, and Gravedigger, sparking off the double-bass drummed Headbanger “Up To The Grave”. Most of this is due to the rough and snarling, upper mid-range vocalage that also makes strong comparisons to Iron Cross (U.S.A) arise. The traditional Euro / German Metal sound is all over the mid-paced and riff-based “Runaway” that identifies with old-school Metal bands from the Mausoleum roster, and the same applies to the chord-riffed “Lust And Madness”. Overall, Sweet Danger have this honest and pure, unpolished sound that is largely riff-oriented and dominated by the great, distinctive vocalage of Adriano Conde that is as Metal as it gets. In all, a most pleasant old-school Metal album that Rocks from start to finish! Brilliant!
Paul van der Burght
label: Impaled records https://www.facebook.com/ImpaledRecords/
songs: Invoke The Wicked / Metal Mania / Witch's Brew / Runaway / All Who Dare To Love You / Lust And Madness / Hard n' Heavy / Up To The Grave / Grim Reaper //
web: https://www.facebook.com/sweetdangerheavymetal/
First appearance by this Brazilian 5-piece whose name – derived from an Angel Witch song - already indicates big time that “Women, Leather And Hell” is strongly rooted in the 80's Metal sound. This is evidenced straight away on the driven Metaler “Invoke The Wicked” that couples the likes of Witchfinder General, Candlemass, Mercyful Fate, Accept and Iron Cross. Even though one may suggest a click with Angelwitch, or the NWOBHM in general, this is fairly limited to the opening tune and the anthemic, follow-up track “Metal Mania” that also shows traces of early Anvil (minus the New Wave Of Old School Metal chorus). A slight turn towards Doom is present on the shape shifting “Witch's Brew”, a thing that is complimented by the vocals operating in a narrative fashion with laughter and all. From then onwards, the concept is pretty much patterned upon the very early 80's Euro / German Metal sound with a strong likeness to Accept, as evidenced on the the moderately / mid-paced “All Who Dare To Love You”, and Gravedigger, sparking off the double-bass drummed Headbanger “Up To The Grave”. Most of this is due to the rough and snarling, upper mid-range vocalage that also makes strong comparisons to Iron Cross (U.S.A) arise. The traditional Euro / German Metal sound is all over the mid-paced and riff-based “Runaway” that identifies with old-school Metal bands from the Mausoleum roster, and the same applies to the chord-riffed “Lust And Madness”. Overall, Sweet Danger have this honest and pure, unpolished sound that is largely riff-oriented and dominated by the great, distinctive vocalage of Adriano Conde that is as Metal as it gets. In all, a most pleasant old-school Metal album that Rocks from start to finish! Brilliant!
Paul van der Burght
KATATONIA – 2016 “The Fall Of Hearts”
label: Peaceville records
songs: Takeover / Serein / Old Heart Falls / Decima / Sanction / Residual / Serac / Last Song Before The Fade / Shifts / The Night Subscriber / Pale Flag / Passer //
“The Fall Of Hearts”, Katatonia's 10th studio album furthers the subtle, ambient like concept showcased on latter works. First track up, “Takeover” captures all this, merging dramatic and sombre moods with a melodic laden melancholy that is mainly funnelled through the strong cohesion of dreary, level-tone vocals and non-distorted guitar picking. At times, this combination tends towards an Epic / Folk-ish appearance as on “Decima” that comes complete with flute and piano. More Gothic minded moments come in the shape of the dark mooded, mid-tempo driven “Serein” with is radio-ready nature, and the album's heaviest workout “Sanction”, reminding much of the 90's Gothic thing with its choir sampled synths and barrage of thick, heavy riffage to alternate the non-distorted, vocal oriented sections. Structural wise, material is preferably programmed in a 'light' format with minimal instrumentation that intensifies / 'thickens' as the songs roll on. The main objective down the “The Fall Of Hearts” album is atmosphere and mood, rather than anything else with the 'Metal' element now tending more towards Rock. The album and allround concept nicely stick together and go really easy on the ear with enough diversity in there to keep the momentum going.
Paul van der Burght
label: Peaceville records
songs: Takeover / Serein / Old Heart Falls / Decima / Sanction / Residual / Serac / Last Song Before The Fade / Shifts / The Night Subscriber / Pale Flag / Passer //
“The Fall Of Hearts”, Katatonia's 10th studio album furthers the subtle, ambient like concept showcased on latter works. First track up, “Takeover” captures all this, merging dramatic and sombre moods with a melodic laden melancholy that is mainly funnelled through the strong cohesion of dreary, level-tone vocals and non-distorted guitar picking. At times, this combination tends towards an Epic / Folk-ish appearance as on “Decima” that comes complete with flute and piano. More Gothic minded moments come in the shape of the dark mooded, mid-tempo driven “Serein” with is radio-ready nature, and the album's heaviest workout “Sanction”, reminding much of the 90's Gothic thing with its choir sampled synths and barrage of thick, heavy riffage to alternate the non-distorted, vocal oriented sections. Structural wise, material is preferably programmed in a 'light' format with minimal instrumentation that intensifies / 'thickens' as the songs roll on. The main objective down the “The Fall Of Hearts” album is atmosphere and mood, rather than anything else with the 'Metal' element now tending more towards Rock. The album and allround concept nicely stick together and go really easy on the ear with enough diversity in there to keep the momentum going.
Paul van der Burght
GRAVEHILL – EP 2016 “Skullbearer”
label: Dark descent records http://www.darkdescentrecords.com/
web: https://gravehill666.bandcamp.com/
Californa based act Gravehill truly live up to what they call 'Old School Blackened Metal', and this EP testifies to this. “By The Edge Of Our Knives” transplants the raw aggression of Old School Metal, and sounds exactly how things were done in the 80's... This is one gruff, bare-knuckle affair with traces of Slayer in drive / rhythm sectioning during the acceleration. “Redeemed In Blood” turns towards 90's DeathThrash American style, dressed with the incredibly dry-rasp vocals of singer 'Corpse'. More of this down the classic DeathMetaler “Away From The Light”. “Upon The 6th Chime” rolls on a slow, bobbing rhythm, alongside blast beats and Nordic features. Most of the songs approach the 5-minute mark, with the Bathory cover, “Sacrifice” as the shortest offering, clocking in at 3:14 minutes. This is one very entertaining set of songs that perfectly captures the sound of the band's influential sources that include Slayer, Bathory, Autopsy and Sodom to name just a few. Solid!
Paul van der Burght
label: Dark descent records http://www.darkdescentrecords.com/
web: https://gravehill666.bandcamp.com/
Californa based act Gravehill truly live up to what they call 'Old School Blackened Metal', and this EP testifies to this. “By The Edge Of Our Knives” transplants the raw aggression of Old School Metal, and sounds exactly how things were done in the 80's... This is one gruff, bare-knuckle affair with traces of Slayer in drive / rhythm sectioning during the acceleration. “Redeemed In Blood” turns towards 90's DeathThrash American style, dressed with the incredibly dry-rasp vocals of singer 'Corpse'. More of this down the classic DeathMetaler “Away From The Light”. “Upon The 6th Chime” rolls on a slow, bobbing rhythm, alongside blast beats and Nordic features. Most of the songs approach the 5-minute mark, with the Bathory cover, “Sacrifice” as the shortest offering, clocking in at 3:14 minutes. This is one very entertaining set of songs that perfectly captures the sound of the band's influential sources that include Slayer, Bathory, Autopsy and Sodom to name just a few. Solid!
Paul van der Burght
SUBSTRATUM – DEMO TAPE 2016
label: Swords and Chains records
web: https://www.facebook.com/substratumseattle/
First appearance by this Seattle based, female fronted act that employ some traditional HardRock / Metal European style. This is evidenced straight away with opening tune “Last Voyage”; a mid-paced and riff-based, early 80's HardRocker with an European / German root and shades of Savage Master; a thing that mainly comes off in the vocal department with singer Amy Lee Carlson delivering a fairly talk-type, (roughed up) voice. “Who Am I” goes even further back in time sound / concept wise sporting an all-out, classic HardRock riff. Programming on this one is more in-depth with a nice break, acceleration and some cool guitarwork. Demo concludes with “By Any Means”' THE heaviest track of the set, calling at mid-80's Euro Metal with some heavy rifage and the vocals alternating rough modes and slightly melodic lines. In all, a very enjoyable, no frills HardRock /Metal affair exactly the way it was done some 35 years ago!
specs: limited to 100 hand numbered copies
Paul van der Burght
label: Swords and Chains records
web: https://www.facebook.com/substratumseattle/
First appearance by this Seattle based, female fronted act that employ some traditional HardRock / Metal European style. This is evidenced straight away with opening tune “Last Voyage”; a mid-paced and riff-based, early 80's HardRocker with an European / German root and shades of Savage Master; a thing that mainly comes off in the vocal department with singer Amy Lee Carlson delivering a fairly talk-type, (roughed up) voice. “Who Am I” goes even further back in time sound / concept wise sporting an all-out, classic HardRock riff. Programming on this one is more in-depth with a nice break, acceleration and some cool guitarwork. Demo concludes with “By Any Means”' THE heaviest track of the set, calling at mid-80's Euro Metal with some heavy rifage and the vocals alternating rough modes and slightly melodic lines. In all, a very enjoyable, no frills HardRock /Metal affair exactly the way it was done some 35 years ago!
specs: limited to 100 hand numbered copies
Paul van der Burght
SUBSTRATUM – 2016 “Substratum”
label: Swords & Chains records
songs: By Any Means / Last Voyage / Room Of Eyes / Who Am I / Burn The Night / Pain God / Curse Of The Soothsayer, Pt I: The Beggar's Toll / Pt II: The Cycle Begins Again / Pt III: King In A Grave //
web: https://www.facebook.com/substratumseattle/
Debut album by Seattle Metalers Substratum collecting all three songs of the 2016 demo tape, along with a whole set of new tracks that have the power levels cranked up and the concept intensified with a more classic, American style appearance. The traditional, European sound is still in there and clearly comes off on the mid-paced HardRock stomper ”Who Am I” plus new tracks “Burn The Night” (with its Priest-ish / NWOBHM vibe) and “Room Of Eyes”; a riff based, mid-tempo affair that phases HardRock with PowerMetal, injected with some loud riffage, accelerations and double bass drummed hooks. Some nice, extended guitar work in there as well, and a great, mobility rhythm section. “Pain God” lowers the pace and tone, tending towards dark, dramatic Metal a la Dio and semi Doom with grinding riffs, alternated by accelerated, PowerMetal sectioning and injected with a whole lot of signature changes and tasty guitarwork. The triple-themed “Curse Of The Soothsayer” enrols all the quality of the band and has the intensity peaking on the 7+ minute, Thrash flavoured Pt I, and the Euro PowerMetal minded 4+ minute Pt II. In all., a brilliant combination of old-school genres that are given the Substratum swing. This is one very competent album that clicks with the sound of bands such as Liege Lord, Priest, Helstar, Megadeth and Omen, dressed with the superb powerhouse vocalage of female singer Amy Lee Carlson. Top 10 traditional Metal, well worth checking out!
Paul van der Burght
label: Swords & Chains records
songs: By Any Means / Last Voyage / Room Of Eyes / Who Am I / Burn The Night / Pain God / Curse Of The Soothsayer, Pt I: The Beggar's Toll / Pt II: The Cycle Begins Again / Pt III: King In A Grave //
web: https://www.facebook.com/substratumseattle/
Debut album by Seattle Metalers Substratum collecting all three songs of the 2016 demo tape, along with a whole set of new tracks that have the power levels cranked up and the concept intensified with a more classic, American style appearance. The traditional, European sound is still in there and clearly comes off on the mid-paced HardRock stomper ”Who Am I” plus new tracks “Burn The Night” (with its Priest-ish / NWOBHM vibe) and “Room Of Eyes”; a riff based, mid-tempo affair that phases HardRock with PowerMetal, injected with some loud riffage, accelerations and double bass drummed hooks. Some nice, extended guitar work in there as well, and a great, mobility rhythm section. “Pain God” lowers the pace and tone, tending towards dark, dramatic Metal a la Dio and semi Doom with grinding riffs, alternated by accelerated, PowerMetal sectioning and injected with a whole lot of signature changes and tasty guitarwork. The triple-themed “Curse Of The Soothsayer” enrols all the quality of the band and has the intensity peaking on the 7+ minute, Thrash flavoured Pt I, and the Euro PowerMetal minded 4+ minute Pt II. In all., a brilliant combination of old-school genres that are given the Substratum swing. This is one very competent album that clicks with the sound of bands such as Liege Lord, Priest, Helstar, Megadeth and Omen, dressed with the superb powerhouse vocalage of female singer Amy Lee Carlson. Top 10 traditional Metal, well worth checking out!
Paul van der Burght
PHIL CAMPBELL AND THE BASTARD SONS -EP 2017
label: UDR / Motorhead Music
songs: Big Mouth / Spiders / Take Aim / No Turning Back / Life In Space //
web: http://www.philcampbell.net/
Debut EP by Phil "Wizzö" Campbell, formerly of Motörhead ('84 – 2015), teaming up with sons Todd (guitar), Dane (drums) and Tyla (bass) plus singer Neil Starr. Phil & co have set out a musical direction that sits comfortably in modernized 90's American style HardRock with blends of pumped up BluesRock, Alternative and Stoner Rock. This thing rocks from start to finish with the groove factor high up and topping with the Motorhead-meets- Alternative knuckle duster “No Turning Back” whilst still having this melodic Mainstream Rock undertone American style. The mid-tempo driven “Big Mouth” is a proper, American style, Sleazed up Hard Rock And Roller with a toe tapping vibe and a shout along theme. The beefy, mid-paced sludge Rocker “Spiders” is a darker, modern Alternative styled tune; largely downtoned with the crisp upper mid-range vocals of frontman Neil Starr bringing in the balance. The two-tempo “Take Aim” is another take on the 90's sound, coupling Alternative to Mainstream Rock whilst the semi-acoustic balladry of “Life In Space” provides the subtle touch with a hint of Zeppelin. Caked with a great, power punch production, lots of groove and instant access, this EP has ROCK written all over. Proper.
Paul van der Burght
label: UDR / Motorhead Music
songs: Big Mouth / Spiders / Take Aim / No Turning Back / Life In Space //
web: http://www.philcampbell.net/
Debut EP by Phil "Wizzö" Campbell, formerly of Motörhead ('84 – 2015), teaming up with sons Todd (guitar), Dane (drums) and Tyla (bass) plus singer Neil Starr. Phil & co have set out a musical direction that sits comfortably in modernized 90's American style HardRock with blends of pumped up BluesRock, Alternative and Stoner Rock. This thing rocks from start to finish with the groove factor high up and topping with the Motorhead-meets- Alternative knuckle duster “No Turning Back” whilst still having this melodic Mainstream Rock undertone American style. The mid-tempo driven “Big Mouth” is a proper, American style, Sleazed up Hard Rock And Roller with a toe tapping vibe and a shout along theme. The beefy, mid-paced sludge Rocker “Spiders” is a darker, modern Alternative styled tune; largely downtoned with the crisp upper mid-range vocals of frontman Neil Starr bringing in the balance. The two-tempo “Take Aim” is another take on the 90's sound, coupling Alternative to Mainstream Rock whilst the semi-acoustic balladry of “Life In Space” provides the subtle touch with a hint of Zeppelin. Caked with a great, power punch production, lots of groove and instant access, this EP has ROCK written all over. Proper.
Paul van der Burght
CONSCRIPT – CD EP 2016 “Celestial Mechanics”
label: private
songs: Celestial Mechanics / I'll See You Burn / Alantean //
web: http://conscriptband.com/
The “Celestial Mechanics” EP by Northamptonshire / UK act Conscript is stickered as 'Melodic Death Metal' but frankly, there is much more going on as the titletrack reveals; This one collects the sounds of Progressive, Symphonic and Atmospheric DeathMetal over a mid-tempo with a faster, double-bass drummed drive. The synths are applied in a Gothic-esque fashion, which, coupled to the rhythm riffed hooks and choir-samples generates this 90's Gothic feel that comes complete with a matching, traditional style vocal grunt. But that's not where it ends, as there's also a considerable Technical edge, Thrashy guitar sections, clever guitar flash and the occasional, cold-sphered Nordic DeathMetal vibe, bordering on melodic BlackMetal. Surprisingly, all this is the creation of one man who definitely has worked wonders here, and that also includes the full, bombastic production that further lifts the material. Follow up tune, the hyper speed double-bass drummed “I'll See You Burn” increases on the Thrash element of the guitars and tips the band over to intense Deaththrash with snappy, scream vocals and an Industrial-meets-symphonic (almost classical type) guitar – synths synchronisation. The EP concludes with “Alantean”; an energetic and agility instrumentated Symphonic Deathster with the technicality being the most prominent here. When the solos drop in the modus goes to Thrash whilst the subtle, piano-synths intermezzos create the balance down this maximum-intensity level number. Impressive!
Paul van der Burght
label: private
songs: Celestial Mechanics / I'll See You Burn / Alantean //
web: http://conscriptband.com/
The “Celestial Mechanics” EP by Northamptonshire / UK act Conscript is stickered as 'Melodic Death Metal' but frankly, there is much more going on as the titletrack reveals; This one collects the sounds of Progressive, Symphonic and Atmospheric DeathMetal over a mid-tempo with a faster, double-bass drummed drive. The synths are applied in a Gothic-esque fashion, which, coupled to the rhythm riffed hooks and choir-samples generates this 90's Gothic feel that comes complete with a matching, traditional style vocal grunt. But that's not where it ends, as there's also a considerable Technical edge, Thrashy guitar sections, clever guitar flash and the occasional, cold-sphered Nordic DeathMetal vibe, bordering on melodic BlackMetal. Surprisingly, all this is the creation of one man who definitely has worked wonders here, and that also includes the full, bombastic production that further lifts the material. Follow up tune, the hyper speed double-bass drummed “I'll See You Burn” increases on the Thrash element of the guitars and tips the band over to intense Deaththrash with snappy, scream vocals and an Industrial-meets-symphonic (almost classical type) guitar – synths synchronisation. The EP concludes with “Alantean”; an energetic and agility instrumentated Symphonic Deathster with the technicality being the most prominent here. When the solos drop in the modus goes to Thrash whilst the subtle, piano-synths intermezzos create the balance down this maximum-intensity level number. Impressive!
Paul van der Burght
ELECTRIC SHOCK – EP 2016 “Burnout”
label: private
songs: Dressed To Kill / Too Loud Ain't Loud Enough / Scream My Name / Play It Rock 'N' Roll / Heavy Metal Resistance / Beer Ritual //
web: https://electricshock.bandcamp.com
Straight forward, groove-laden HardRock / Metal the way it was done in the 80's. First track on, “Dressed To Kill” finds the band coupling Blues rooted NWOBHM with a melodic element that is most prominent in the vocal department. It is also the vocals that 'colour' the music with singer 'The Dragonman' laying down a clear, pitch perfect upper mid-range voice with higher notes. The groove-element is pushed up on the mid-paced, classic HardRock riffed, “Too Loud Ain't Enough” and the Metal-meets-Boogie minded groovster “Play It Rock'N'Roll”. For the greater part, songs operate in a mid to up-tempo modus that is all riff-oriented and repetitive with catchy refrains, as on the sing along Rocker “Scream My Name”. Fastest moments on the disc are the melodic laden, upbeat “Heavy Metal Resistance” and the fast-paced and Punked up bar-riffed Metaler “Beer Ritual”. This is one versatile and enjoyable HardRock affair with that classic, all out French niche for subtlety and melody. Well done.
Paul van der Burght
label: private
songs: Dressed To Kill / Too Loud Ain't Loud Enough / Scream My Name / Play It Rock 'N' Roll / Heavy Metal Resistance / Beer Ritual //
web: https://electricshock.bandcamp.com
Straight forward, groove-laden HardRock / Metal the way it was done in the 80's. First track on, “Dressed To Kill” finds the band coupling Blues rooted NWOBHM with a melodic element that is most prominent in the vocal department. It is also the vocals that 'colour' the music with singer 'The Dragonman' laying down a clear, pitch perfect upper mid-range voice with higher notes. The groove-element is pushed up on the mid-paced, classic HardRock riffed, “Too Loud Ain't Enough” and the Metal-meets-Boogie minded groovster “Play It Rock'N'Roll”. For the greater part, songs operate in a mid to up-tempo modus that is all riff-oriented and repetitive with catchy refrains, as on the sing along Rocker “Scream My Name”. Fastest moments on the disc are the melodic laden, upbeat “Heavy Metal Resistance” and the fast-paced and Punked up bar-riffed Metaler “Beer Ritual”. This is one versatile and enjoyable HardRock affair with that classic, all out French niche for subtlety and melody. Well done.
Paul van der Burght
JUPITER HOLLOW – CD EP 2017 “Odyssey”
label: private
songs: Deep In Space / Ascending / Hades Heart / Over 50 Years / Odyssey //
web: http://www.jupiterhollow.ca/
Jupiter Hollow is an Ontario based, 2-men act, comprised of multi-instrumentalists Grant MacKenzie (guitar, bass, synths), and Kenny Perry (vocals, drums, synths). It goes without saying that Canada is THE hotbed for top-quality Progressive Rock / Metal, and Jupiter Hollow is the the rising star in that stratosphere. Opening tune, and riff-monster “Deep in Space” testifies to this, showcasing a superb combination of heavy, 90's Alternative riffage (a la Staind) and atmospheres, in-depth Rush like mobility leads, and all-out Progressive hooks, including electric piano, and showers of well timed signature changes. “Ascending” accents the ambient, spacey vibes of their music and somehow clicks with Katatonia with regards to this melo-dramatic mood, atmospheric synths and guitar picking – percussion combi. “Hades Heart” furthers this mood, but intensifies in waves with the melodic appearance heavily addressing to the 90's thing. Some great, vocal harmonies down this one, with the lead lines of Kenny Perry hitting the far ends of the upper range regions, bringing in the connection with Rush in the vocal department as well. The technicality goes onwards and upwards down the Tool – esque vibed “Over 50 Years” which also counts as the heaviest track of the set, whilst “Odyssey” highlights the ambient, spacey atmosphere, gelled with a strong Progressive undertone with most of the instrumentation operating in a subtle, non-distorted fashion with the up-tone picking guitar adding the feel. Jupiter Hollow has delivered one very complete and competent set of songs that nicely blends atmospheres and technicality in a predominantly 90's fashion. Great!
Paul van der Burght
label: private
songs: Deep In Space / Ascending / Hades Heart / Over 50 Years / Odyssey //
web: http://www.jupiterhollow.ca/
Jupiter Hollow is an Ontario based, 2-men act, comprised of multi-instrumentalists Grant MacKenzie (guitar, bass, synths), and Kenny Perry (vocals, drums, synths). It goes without saying that Canada is THE hotbed for top-quality Progressive Rock / Metal, and Jupiter Hollow is the the rising star in that stratosphere. Opening tune, and riff-monster “Deep in Space” testifies to this, showcasing a superb combination of heavy, 90's Alternative riffage (a la Staind) and atmospheres, in-depth Rush like mobility leads, and all-out Progressive hooks, including electric piano, and showers of well timed signature changes. “Ascending” accents the ambient, spacey vibes of their music and somehow clicks with Katatonia with regards to this melo-dramatic mood, atmospheric synths and guitar picking – percussion combi. “Hades Heart” furthers this mood, but intensifies in waves with the melodic appearance heavily addressing to the 90's thing. Some great, vocal harmonies down this one, with the lead lines of Kenny Perry hitting the far ends of the upper range regions, bringing in the connection with Rush in the vocal department as well. The technicality goes onwards and upwards down the Tool – esque vibed “Over 50 Years” which also counts as the heaviest track of the set, whilst “Odyssey” highlights the ambient, spacey atmosphere, gelled with a strong Progressive undertone with most of the instrumentation operating in a subtle, non-distorted fashion with the up-tone picking guitar adding the feel. Jupiter Hollow has delivered one very complete and competent set of songs that nicely blends atmospheres and technicality in a predominantly 90's fashion. Great!
Paul van der Burght
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PAUL CHAIN – CD 2016 “Alkahest” (re-released)
label: Minotauro records
songs: Roses Of Winter / Living Today/ Sand Glass / Three Water / Reality 1 / Voyage To Hell / Static End / Lake Without Water / Sepulchral Life / Electric Funeral (bonus track) //
This is the '95 album, re-released with a bonus track, “Electric Funeral”. Paul Chain goes way back in time, being up there with the best Italy had to offer throughout the 80's and 90's. Main obstacle with Italian bands has pretty much always been the absence of global recognition. Nonetheless, the international Underground scene picked up on the quality of Italian acts and their work, and this one, along with the '94 predecessor “Dies Irae” are monumental releases that blend in nicely with the 'new' Doom / Stoner sound whilst having this classic Doom appearance that largely borrows from Sabbath and Candlemass (with a bobbing groove factor) down the mid-paced pounder “Roses Of Winter” and the grinding, low-toned riff-monsters “Living Today” and “Sand Glass”. The use of keyboards 'thicken' the sound and add a Gothic sphere to “Sand Glass”; a thing that comes back down the choir simulated synths of the lethargic, dramatic sphered “Three Water”. Nice twist is the double vocal feature; sporting the 'fragile' ish mid-to-upper-mid-range voice of Paul and the growling vocal raps of guest singer Lee Dorrian on tracks, “Voyage To Hell”, “Static End”, “Lake Without Water” and “Sepulchral Life”. This brings about an entertaining cocktail of Metallica (“Black”album), Sabbath and Venom to give an indication. Overall, songs are slow and downtoned to a max in the riff-department with a Stoner-esque appearance down the chunky “Sepulchral Life”. This is one great album that stood the test of time and beyond!
Paul van der Burght
label: Minotauro records
songs: Roses Of Winter / Living Today/ Sand Glass / Three Water / Reality 1 / Voyage To Hell / Static End / Lake Without Water / Sepulchral Life / Electric Funeral (bonus track) //
This is the '95 album, re-released with a bonus track, “Electric Funeral”. Paul Chain goes way back in time, being up there with the best Italy had to offer throughout the 80's and 90's. Main obstacle with Italian bands has pretty much always been the absence of global recognition. Nonetheless, the international Underground scene picked up on the quality of Italian acts and their work, and this one, along with the '94 predecessor “Dies Irae” are monumental releases that blend in nicely with the 'new' Doom / Stoner sound whilst having this classic Doom appearance that largely borrows from Sabbath and Candlemass (with a bobbing groove factor) down the mid-paced pounder “Roses Of Winter” and the grinding, low-toned riff-monsters “Living Today” and “Sand Glass”. The use of keyboards 'thicken' the sound and add a Gothic sphere to “Sand Glass”; a thing that comes back down the choir simulated synths of the lethargic, dramatic sphered “Three Water”. Nice twist is the double vocal feature; sporting the 'fragile' ish mid-to-upper-mid-range voice of Paul and the growling vocal raps of guest singer Lee Dorrian on tracks, “Voyage To Hell”, “Static End”, “Lake Without Water” and “Sepulchral Life”. This brings about an entertaining cocktail of Metallica (“Black”album), Sabbath and Venom to give an indication. Overall, songs are slow and downtoned to a max in the riff-department with a Stoner-esque appearance down the chunky “Sepulchral Life”. This is one great album that stood the test of time and beyond!
Paul van der Burght
STEEL HAMMER – CD 2016 “Steel Hammer”
label: Pure Metal records
songs: Heavy Metal Arrival - Steel Hammer / Tonight's Hell / Nightrider / Behind The Power Of Steel / Heavy Metal Damnation / Blood On The Battlefields / The Sound Of The Iron Bells / Malleus Malleficarum //
web: https://www.facebook.com/SteelHammerAttack/
This debut album by Colombia's Steel Hammer displays a perfect mix of melodic laden NWOBHM, 80's German Metal, Loudness!! and Iron Maiden 'Powerslave' era. The NWOBHM sound is funnelled through the riff-based and twin-lead themes, as well as drive and accessibility, addressing to this instant access, straight-forward approach. The German Metal thing is evident on the driven “Tonight's Hell” and the semi-Headbanger “Nightrider”, but is mostly triggered by the refrains and the upper-range vocal roar that mirrors Udo (and to some extend Gravedigger). Songs are preferably up-tempo driven and splashed with a good lot of double-bass drummage. Faster moments come in the shape of the titletrack, “The Sound Of The Iron Bells”, the Gravedigger-ish “Nightrider” and “Malleus Malleficarum” that clicks the most with Japanese Metalers Loudness, and also features the best guitarwork of the set. The Maiden sound is pretty much omnipresent in the shape of similar twin harmonies and guitar / bass synchronisation, as well as themes. As far as the Maiden sound goes, this is best captured on “Blood On The Battlefields” that is loaded with twin guitars, rhythmic and galloping modes. This is one great, traditional styled Heavy Metal album well worth investigating!
Paul van der Burght
label: Pure Metal records
songs: Heavy Metal Arrival - Steel Hammer / Tonight's Hell / Nightrider / Behind The Power Of Steel / Heavy Metal Damnation / Blood On The Battlefields / The Sound Of The Iron Bells / Malleus Malleficarum //
web: https://www.facebook.com/SteelHammerAttack/
This debut album by Colombia's Steel Hammer displays a perfect mix of melodic laden NWOBHM, 80's German Metal, Loudness!! and Iron Maiden 'Powerslave' era. The NWOBHM sound is funnelled through the riff-based and twin-lead themes, as well as drive and accessibility, addressing to this instant access, straight-forward approach. The German Metal thing is evident on the driven “Tonight's Hell” and the semi-Headbanger “Nightrider”, but is mostly triggered by the refrains and the upper-range vocal roar that mirrors Udo (and to some extend Gravedigger). Songs are preferably up-tempo driven and splashed with a good lot of double-bass drummage. Faster moments come in the shape of the titletrack, “The Sound Of The Iron Bells”, the Gravedigger-ish “Nightrider” and “Malleus Malleficarum” that clicks the most with Japanese Metalers Loudness, and also features the best guitarwork of the set. The Maiden sound is pretty much omnipresent in the shape of similar twin harmonies and guitar / bass synchronisation, as well as themes. As far as the Maiden sound goes, this is best captured on “Blood On The Battlefields” that is loaded with twin guitars, rhythmic and galloping modes. This is one great, traditional styled Heavy Metal album well worth investigating!
Paul van der Burght
DON'T DROP THE SWORD – EP 2017 “Into The Fire”
label: private
songs: Death Or Glory / Into The Fire / The Rise Of Neith / Memories /Don't Drop The Sword //
web: http://dontdropthesword.de/
Debut release by this German 5-piece,formulating some classic, Epical themed Power / SpeedMetal. The EP opens in Headbanger modus with the all 80's European styled, semi-SpeedMetaler “Death Or Glory” that sort of merges the classic Scandinavian and German sound with a 'modern' twist that mainly finds its expression in the vocal department. The moderately paced turned Headbanger “Into The Fire” (mid section) takes the vocalage to another level incorporating 'growls' alongside the slightly roughed up and Pirate Metal ish, mid-range vocals. The heavily riffed, and upbeat driven “The Rise Of Neith” hints at German Power / Speed Metal in a 'modern' traditional way. “Memories” is a heavy ballad with a slight Epic undertone, and final cut “Don't Drop The Sword” is an anthemic Epic SpeedMetaler with those trademark,German style chants. Material is rather straight forward and all riff-based with a good lot of double-bass drum action thrown in there as well.
Paul van der Burght
label: private
songs: Death Or Glory / Into The Fire / The Rise Of Neith / Memories /Don't Drop The Sword //
web: http://dontdropthesword.de/
Debut release by this German 5-piece,formulating some classic, Epical themed Power / SpeedMetal. The EP opens in Headbanger modus with the all 80's European styled, semi-SpeedMetaler “Death Or Glory” that sort of merges the classic Scandinavian and German sound with a 'modern' twist that mainly finds its expression in the vocal department. The moderately paced turned Headbanger “Into The Fire” (mid section) takes the vocalage to another level incorporating 'growls' alongside the slightly roughed up and Pirate Metal ish, mid-range vocals. The heavily riffed, and upbeat driven “The Rise Of Neith” hints at German Power / Speed Metal in a 'modern' traditional way. “Memories” is a heavy ballad with a slight Epic undertone, and final cut “Don't Drop The Sword” is an anthemic Epic SpeedMetaler with those trademark,German style chants. Material is rather straight forward and all riff-based with a good lot of double-bass drum action thrown in there as well.
Paul van der Burght
ALLUVIAL – 2017 “The Deep Longing For Annihilation”
label: private
web: http://keithmerrow.com/
“The Deep Longing For Annihilation” is the product of guitarists Keith Merrow and Wes Hauch, creating an all instrumental album that, in essence, is a mixed Melodic / Progressive Death Metal affair without the vocals, rooted in the late 90's style of things with hints of the Industrial and Gothic / Atmospheric genre. Subtlety and melody shine on “Lila” that has some Becker / Friedman – Cacophony hints in there allright. “Mirelands” is one of the tracks that incorporates particles of Nordic Black Metal, whilst “In Penitence” goes full on the DeathMetal groove-factor, and “Occlusion” takes the ambient nature to an intensified, dark mood as the song develops. All goes to show that the concept of Alluvial moves in various shapes and forms without overdoing it in technicality or such, and the same pretty much applies to the actual guitarwork, gelling a very listenable balance between controlled flash, chunky riffage, downtoned powergrooves, Progressive / Jazzy twists and full on Death Metal leads. Alluvial entertains from start to finish, and the absence of vocals simply works the formula here. Enjoyable
Paul van der Burght
label: private
web: http://keithmerrow.com/
“The Deep Longing For Annihilation” is the product of guitarists Keith Merrow and Wes Hauch, creating an all instrumental album that, in essence, is a mixed Melodic / Progressive Death Metal affair without the vocals, rooted in the late 90's style of things with hints of the Industrial and Gothic / Atmospheric genre. Subtlety and melody shine on “Lila” that has some Becker / Friedman – Cacophony hints in there allright. “Mirelands” is one of the tracks that incorporates particles of Nordic Black Metal, whilst “In Penitence” goes full on the DeathMetal groove-factor, and “Occlusion” takes the ambient nature to an intensified, dark mood as the song develops. All goes to show that the concept of Alluvial moves in various shapes and forms without overdoing it in technicality or such, and the same pretty much applies to the actual guitarwork, gelling a very listenable balance between controlled flash, chunky riffage, downtoned powergrooves, Progressive / Jazzy twists and full on Death Metal leads. Alluvial entertains from start to finish, and the absence of vocals simply works the formula here. Enjoyable
Paul van der Burght
BALFOR – CD 2017 “Black Serpent Rising”
label: Drakkar productions
songs: Serpents Of The Black Sun / Dawn Of Savage / Unbounded Wrath Of Venom / Heralds Of The Fall / Among The Fallen Ones / Wolfbreed / A Vulture's Spell //
web: http://www.balfor.info/
Third full lengther by these Unkranian Deathsters, bridging a 7 year gap since the release of their “Barbaric Blood” album. Balfor play Modern Death / Black Metal with the Death Metal element being the more prominent factor. The concept has a certain, atmospheric, almost Gothic like undertone with a strong, melodic sense in the guitar department. This dramatic vibe is clearly captured on opening tune “Serpents Of The Black Sun”, complete with Gregorian like chants and Nordic riff-themes. The production and sound of the band are full of boost and bottom-end power, pointing towards DeathMetal rather than BlackMetal. The Modern swing of the genre comes off at large down the chunky, double bass drummed and mid-tempo driven “Crimson Stronghold”, drawing a certain likeness with Abbath / Immortal. Overall, guitars are meaty and have a nice, thick feedback and the solos are balanced and melody-laden, whilst the riffage goes through several modes of operation, from high-low-and-reversed to Thrash / Death like (as on the pounding, Swedish DeathMetal tinged “Dawn Of Savage”). More atmospheric / dramatic tunes come in the shape of “Unbounded Wrath Of Venom”,and the theatrical / symphonic edged “Heralds Of The Fall”. Vocalage is deep and grunty with a good, powerful roar, adding up to the thrust of the music as a whole. Majority of tunes is mid-paced and double-bass drummed that, coupled to the rather straight forward programming of the songs secures instant access and makes the whole thing flow really easy. Throughout the concept, there is this is semi-dark Industrial feel and vibe running slightly underneath, that occasionally hints at Fear Factory as spotlighted on “A Vulture's Spell”. Putting all the musical flavours and elements together, “Black Serpent Rising” turns out to be a flavoursome melange in the heavier territories that works really well. Entertaining.
Paul van der Burght
label: Drakkar productions
songs: Serpents Of The Black Sun / Dawn Of Savage / Unbounded Wrath Of Venom / Heralds Of The Fall / Among The Fallen Ones / Wolfbreed / A Vulture's Spell //
web: http://www.balfor.info/
Third full lengther by these Unkranian Deathsters, bridging a 7 year gap since the release of their “Barbaric Blood” album. Balfor play Modern Death / Black Metal with the Death Metal element being the more prominent factor. The concept has a certain, atmospheric, almost Gothic like undertone with a strong, melodic sense in the guitar department. This dramatic vibe is clearly captured on opening tune “Serpents Of The Black Sun”, complete with Gregorian like chants and Nordic riff-themes. The production and sound of the band are full of boost and bottom-end power, pointing towards DeathMetal rather than BlackMetal. The Modern swing of the genre comes off at large down the chunky, double bass drummed and mid-tempo driven “Crimson Stronghold”, drawing a certain likeness with Abbath / Immortal. Overall, guitars are meaty and have a nice, thick feedback and the solos are balanced and melody-laden, whilst the riffage goes through several modes of operation, from high-low-and-reversed to Thrash / Death like (as on the pounding, Swedish DeathMetal tinged “Dawn Of Savage”). More atmospheric / dramatic tunes come in the shape of “Unbounded Wrath Of Venom”,and the theatrical / symphonic edged “Heralds Of The Fall”. Vocalage is deep and grunty with a good, powerful roar, adding up to the thrust of the music as a whole. Majority of tunes is mid-paced and double-bass drummed that, coupled to the rather straight forward programming of the songs secures instant access and makes the whole thing flow really easy. Throughout the concept, there is this is semi-dark Industrial feel and vibe running slightly underneath, that occasionally hints at Fear Factory as spotlighted on “A Vulture's Spell”. Putting all the musical flavours and elements together, “Black Serpent Rising” turns out to be a flavoursome melange in the heavier territories that works really well. Entertaining.
Paul van der Burght
SALEM – CD 2016 “Dark Days”
label: Pure Steel records
songs: Not Guilty / Nine Months / Complicated / Lost My Mind / Dark Days / Second Sight / Tormented / Fallen Angel / Toy Story / Prodigal Son / Tank //
web: www.salemband.co.uk
This is the very same band that released the '82 “Cold As Steel” / “Reach To Eternity” single that, in later years got Salem recognized as one of those undiscovered and highly regarded NWOBHM gems. As the years rolled on, the musical direction of Salem changed and their most recent work, “Dark Days” does not relate to the sound of old. The concept on display has a strong click with Saxon's later, more commercial work, occasionally tending towards the American Mainstream Rock sound, as showcased on the modest Radio Rocker “Toy Story” and the toe-tapping “Not Guilty” that has the great vocals of frontman Simon Saxby high up in the mid-range with a lot of feel and crisp, and with a tone and appearance that occasionally identifies with Biff Byford (Saxon), as clearly evidenced on the titletrack. Througout the disc, there is a strong sense for melody and sticky, sing along refrains over fairly straight forward song, and either moderately or mid-paced structures, compensated by the quality songwriting, eye for detail and some cool excerpts such as the 'Stargazer'-ish (Rainbow) solo section down “Nine Months”.Things are powered up down the heavier riffed, Euro-HardRock styled tracks such as “Complicated”, and the mid-paced, modern-meets-old-school HardRock / Metaler “Tormented”, over against the more Mainstream approach of songs such as “Lost My Mind”. In all, a complete and entertaining album in the melodic / Mainstream HardRock territories, 80's era.
Paul van der Burght
label: Pure Steel records
songs: Not Guilty / Nine Months / Complicated / Lost My Mind / Dark Days / Second Sight / Tormented / Fallen Angel / Toy Story / Prodigal Son / Tank //
web: www.salemband.co.uk
This is the very same band that released the '82 “Cold As Steel” / “Reach To Eternity” single that, in later years got Salem recognized as one of those undiscovered and highly regarded NWOBHM gems. As the years rolled on, the musical direction of Salem changed and their most recent work, “Dark Days” does not relate to the sound of old. The concept on display has a strong click with Saxon's later, more commercial work, occasionally tending towards the American Mainstream Rock sound, as showcased on the modest Radio Rocker “Toy Story” and the toe-tapping “Not Guilty” that has the great vocals of frontman Simon Saxby high up in the mid-range with a lot of feel and crisp, and with a tone and appearance that occasionally identifies with Biff Byford (Saxon), as clearly evidenced on the titletrack. Througout the disc, there is a strong sense for melody and sticky, sing along refrains over fairly straight forward song, and either moderately or mid-paced structures, compensated by the quality songwriting, eye for detail and some cool excerpts such as the 'Stargazer'-ish (Rainbow) solo section down “Nine Months”.Things are powered up down the heavier riffed, Euro-HardRock styled tracks such as “Complicated”, and the mid-paced, modern-meets-old-school HardRock / Metaler “Tormented”, over against the more Mainstream approach of songs such as “Lost My Mind”. In all, a complete and entertaining album in the melodic / Mainstream HardRock territories, 80's era.
Paul van der Burght
THYRANE – CD / LP / CASS 2017 “Black Harmony”
label: Woodcut records
songs: Black Harmony / Sacrifires / Enthroned By Antichrist / Satanic Ages Overture //
web: https://www.facebook.com/thyraneofficial/
First released as a demo tape back in '97, this 4-songer has now been re-released on various formats by Woodcut records who signed the band in '98. The set on display has been stickered both as 'Satanic Black Metal; and 'Symphonic Black Metal'. With the concept dating back to the 90's, there is this – for the era - significant integration of Gothic / Atmospheric, choir-sampled synths. Material is in-depth and versatile but not too technical or Progressive despite running times of 7+ minutes (“Black Harmony”, '”Satanic Ages Overture”) up to 11+ minutes (“Enthroned By Antichrist”). The whole thing is surrounded by this Nordic vibe, given value by the synth samples and guitar melodies. Songs are easy on the ear and well produced without sounding thin or trebly, yet Thyrane has got all the sounds and trimmings of true BlackMetal, including raspy talk-vocals, blast beats, double-bass drummed chops and high-low-and-reversed rhythm riffage. “Satanic Ages Overture” features some cool, dark orchestral like modes and rolls on plenty of double-bass drum action. The “Black Harmony” EP is one very convincing outing that still stands tall in Black Metal territories and sounds anything but dated. Strong!
Paul van der Burght
label: Woodcut records
songs: Black Harmony / Sacrifires / Enthroned By Antichrist / Satanic Ages Overture //
web: https://www.facebook.com/thyraneofficial/
First released as a demo tape back in '97, this 4-songer has now been re-released on various formats by Woodcut records who signed the band in '98. The set on display has been stickered both as 'Satanic Black Metal; and 'Symphonic Black Metal'. With the concept dating back to the 90's, there is this – for the era - significant integration of Gothic / Atmospheric, choir-sampled synths. Material is in-depth and versatile but not too technical or Progressive despite running times of 7+ minutes (“Black Harmony”, '”Satanic Ages Overture”) up to 11+ minutes (“Enthroned By Antichrist”). The whole thing is surrounded by this Nordic vibe, given value by the synth samples and guitar melodies. Songs are easy on the ear and well produced without sounding thin or trebly, yet Thyrane has got all the sounds and trimmings of true BlackMetal, including raspy talk-vocals, blast beats, double-bass drummed chops and high-low-and-reversed rhythm riffage. “Satanic Ages Overture” features some cool, dark orchestral like modes and rolls on plenty of double-bass drum action. The “Black Harmony” EP is one very convincing outing that still stands tall in Black Metal territories and sounds anything but dated. Strong!
Paul van der Burght
ICHABOD KRANE – CD 2016 “Beyond Eternity”
label: Pure Steel records
web: www.ichabodkrane.com/
Second outlet by this US based band featuring original Halloween members George Neal (bass), Rick Craig (guitar) and drummer Rob Brug from a later carnation. Operating as a 5-piece with additional members Jeff Schlinz (vocals) and Lisa Hunt (keys), Ichabod Krane delivers a varied array of styles without a set direction. The album starts off in a 90's, melodic PowerMetal fashion with the Vicious Rumours / Recon like “Black World”, followed by the Judas Priest / Malice (“Circle Of Fire”) tinged, 80's PowerMetaler “Metal Messiah”. It is here that the strong vocalage of Jeff Schlinz shows in full force, showcasing an all-out PowerMetal voice in the upper mid-range regions that comes with a solid and prominent vibrato and high pitched yells that identify with Vicious Rumors on several occasions, and most evidently on the slow and atmospheric laden, slightly Dio tinged “Pandora's Box”. Throughout the album, there is a liking for slower, grinding tempos, although concept takes a completely different turn from track #04 onwards, addressing to a more US Mainstream / HardRock approach with blends of AOR down “Bitter Romance”, “When The Stars Fall” and “Why So Sad”. Things differentiate again with “Bring It Down” rolling on a traditional mix of HardRock a la The Scorpions and U.F.O (“Rock Bottom”). There's synthesizer applied throughout the entire concept, though not in a poppy way, but more Progressive like. This album sticks together very well, and the all round musicianship is tip top. The rather drastic changes in repertoire may be a bit awkward but that does not take away the fact that this is one solid effort in either style.
Paul van der Burght
label: Pure Steel records
web: www.ichabodkrane.com/
Second outlet by this US based band featuring original Halloween members George Neal (bass), Rick Craig (guitar) and drummer Rob Brug from a later carnation. Operating as a 5-piece with additional members Jeff Schlinz (vocals) and Lisa Hunt (keys), Ichabod Krane delivers a varied array of styles without a set direction. The album starts off in a 90's, melodic PowerMetal fashion with the Vicious Rumours / Recon like “Black World”, followed by the Judas Priest / Malice (“Circle Of Fire”) tinged, 80's PowerMetaler “Metal Messiah”. It is here that the strong vocalage of Jeff Schlinz shows in full force, showcasing an all-out PowerMetal voice in the upper mid-range regions that comes with a solid and prominent vibrato and high pitched yells that identify with Vicious Rumors on several occasions, and most evidently on the slow and atmospheric laden, slightly Dio tinged “Pandora's Box”. Throughout the album, there is a liking for slower, grinding tempos, although concept takes a completely different turn from track #04 onwards, addressing to a more US Mainstream / HardRock approach with blends of AOR down “Bitter Romance”, “When The Stars Fall” and “Why So Sad”. Things differentiate again with “Bring It Down” rolling on a traditional mix of HardRock a la The Scorpions and U.F.O (“Rock Bottom”). There's synthesizer applied throughout the entire concept, though not in a poppy way, but more Progressive like. This album sticks together very well, and the all round musicianship is tip top. The rather drastic changes in repertoire may be a bit awkward but that does not take away the fact that this is one solid effort in either style.
Paul van der Burght
NORTHWEST METALWORX VOL I
compilation LP / CD US 2016
label: NW Metalworx http://nwmetalworxmusic.com/
songs: 11x, bands: 11x
HEIR APPARENT - "We The People" (Demo version)
TAIST OF IRON - "Ouija" (Demo version)
WHIZKEY STIK - "Heaven's Thief"
OUTRAGE - "It's Not OK"
ASSAULT & BATTERY - "Bitch Iron"
GLACIER - "Devil In Disguise"
OVERLORD - "Sometimes Gets The Best Of Me" (Live)
STEEL SEA - "Blacklace Blackmail"
CRUELLA - "Traitors"
HIGH VOLTAGE - "Freedom"
WINDHAM HELL - "Group Murder Suicide"
“Northwest Metalworx vol.I” is a compilation that holds a selection of HardRock and Heavy Metal bands from the American NorthWest area, featuring 6 Washington and 5 Oregon based acts. The main focus of this compilation is on 80's Metal, but it also features earlier and later (90's) material. Some of the the better picks of the album are HEIR APPARENT with the Symphonic / Progressive mixed, all 80's American sounding “We The People”, featuring some great, melodic vocalage and nice guitar flash, TAIST OF IRON (great, all out mid-80's US Metal / PowerMetal with some tasty guitarwork in the typical U.S style), GLACIER (catchy, upbeat US Power / Metal with a semi-melodic undertone and a technical sidekick), and CRUELLA (tip top, mid-80's US Power / Speed Metal complete with plenty of guitars and the trademark, siren vocalage). Different in concept but definitely deserving are ASSAULT & BATTERY; one of the heavier acts on the album, delivering a tough, bare-knuckle Thrash -meets-HardCore / Punk styled mix with crunching guitars and a whole lot of aggression. The compilation travels back in time with the 70's, Hammond infused tracks by both WHIZKEY STIK and HIGH VOLTAGE, and also touches upon Mainstream edged, 80's American Metal with “Blacklace Blackmail” by STEEL SEA, featuring some cool, beefy loead vocals and an apparent Van Halen undertone. “NorthWest Metalworx vol.I” follows the tradition of the 80's compilation LP's and breathes that very same Underground feel.
Paul van der Burght
specs: vinyl version in a limited edition of 500 hand-numbered copies
compilation LP / CD US 2016
label: NW Metalworx http://nwmetalworxmusic.com/
songs: 11x, bands: 11x
HEIR APPARENT - "We The People" (Demo version)
TAIST OF IRON - "Ouija" (Demo version)
WHIZKEY STIK - "Heaven's Thief"
OUTRAGE - "It's Not OK"
ASSAULT & BATTERY - "Bitch Iron"
GLACIER - "Devil In Disguise"
OVERLORD - "Sometimes Gets The Best Of Me" (Live)
STEEL SEA - "Blacklace Blackmail"
CRUELLA - "Traitors"
HIGH VOLTAGE - "Freedom"
WINDHAM HELL - "Group Murder Suicide"
“Northwest Metalworx vol.I” is a compilation that holds a selection of HardRock and Heavy Metal bands from the American NorthWest area, featuring 6 Washington and 5 Oregon based acts. The main focus of this compilation is on 80's Metal, but it also features earlier and later (90's) material. Some of the the better picks of the album are HEIR APPARENT with the Symphonic / Progressive mixed, all 80's American sounding “We The People”, featuring some great, melodic vocalage and nice guitar flash, TAIST OF IRON (great, all out mid-80's US Metal / PowerMetal with some tasty guitarwork in the typical U.S style), GLACIER (catchy, upbeat US Power / Metal with a semi-melodic undertone and a technical sidekick), and CRUELLA (tip top, mid-80's US Power / Speed Metal complete with plenty of guitars and the trademark, siren vocalage). Different in concept but definitely deserving are ASSAULT & BATTERY; one of the heavier acts on the album, delivering a tough, bare-knuckle Thrash -meets-HardCore / Punk styled mix with crunching guitars and a whole lot of aggression. The compilation travels back in time with the 70's, Hammond infused tracks by both WHIZKEY STIK and HIGH VOLTAGE, and also touches upon Mainstream edged, 80's American Metal with “Blacklace Blackmail” by STEEL SEA, featuring some cool, beefy loead vocals and an apparent Van Halen undertone. “NorthWest Metalworx vol.I” follows the tradition of the 80's compilation LP's and breathes that very same Underground feel.
Paul van der Burght
specs: vinyl version in a limited edition of 500 hand-numbered copies
ATTICK DEMONS – CD 2016 “Let's Raise Hell”
label: Pure Steel records
songs: The Circle Of Light / Adamastor / Glory To Gawain / Dark Angel / The Endless Game / Let’s Raise Hell / Ghost / Nightmares / Ritual //
web: www.attickdemons.com
Portugal's Attick Demons have been around ever since the 90's, but a minimal discography indicates the band pretty much moved under the radars of recognition for all those years. Their newest, and fourth outlet, “Let's Raise Hell” might just change things around, as this is one proper album, sporting some European style Heavy Metal that occasionally borders on U.S. PowerMetal as evidenced on the mid-80's styled Headbanger “The Circle Of Light” and the chunky, moderatley paced “Dark Angel” that is caked with meaty riffs and this certain atmosphere, to some extend due to the Gothic esque female vocalage alongside those of singer Artur Almeida. The European Metal feel and appearance mostly comes off down the driven semi-Headbanger “Ghost” that clicks with Picture and Brainfever, plus the mid-paced, Accept-meets-Priest styled titletrack. And then, there's a whole batch of tracks that cross Iron Maiden “Powerslave” era with Accept and Priest or are pretty much full on Maiden as is the case with “The Endless Game”. Most of this connection with Maiden is generated by the powerhouse vocals of Almeida that have an identical tone, vibration, articulation and range. Although the main chunk of the album is mid-paced and riff-based, there is a lot happening within the music / songs, with subtle mixed in Neo-Classical guitar hooks, tasty guitarwork and a strong, all round entertainment factor that is further given value by the clear, pro-production providing the concept with a perfect boost.
Paul van der Burght
label: Pure Steel records
songs: The Circle Of Light / Adamastor / Glory To Gawain / Dark Angel / The Endless Game / Let’s Raise Hell / Ghost / Nightmares / Ritual //
web: www.attickdemons.com
Portugal's Attick Demons have been around ever since the 90's, but a minimal discography indicates the band pretty much moved under the radars of recognition for all those years. Their newest, and fourth outlet, “Let's Raise Hell” might just change things around, as this is one proper album, sporting some European style Heavy Metal that occasionally borders on U.S. PowerMetal as evidenced on the mid-80's styled Headbanger “The Circle Of Light” and the chunky, moderatley paced “Dark Angel” that is caked with meaty riffs and this certain atmosphere, to some extend due to the Gothic esque female vocalage alongside those of singer Artur Almeida. The European Metal feel and appearance mostly comes off down the driven semi-Headbanger “Ghost” that clicks with Picture and Brainfever, plus the mid-paced, Accept-meets-Priest styled titletrack. And then, there's a whole batch of tracks that cross Iron Maiden “Powerslave” era with Accept and Priest or are pretty much full on Maiden as is the case with “The Endless Game”. Most of this connection with Maiden is generated by the powerhouse vocals of Almeida that have an identical tone, vibration, articulation and range. Although the main chunk of the album is mid-paced and riff-based, there is a lot happening within the music / songs, with subtle mixed in Neo-Classical guitar hooks, tasty guitarwork and a strong, all round entertainment factor that is further given value by the clear, pro-production providing the concept with a perfect boost.
Paul van der Burght
POLTERGEIST – CD 2016 “Back To Haunt”
label: Pure Steel records
songs: Back To Haunt / Gone And Forgotten / Patterns In The Sky / And So It Has Begun / When The Ships Arrive / The Pillars Of Creation / Faith Is Gone / Flee From Today / Shell Beach / Beyond The Realms Of Time //
web: www.poltergeistmetal.com/
Switzerland's prime Thrashers Poltergeist have been around ever since the late 90's, and their career peaked in the 90's with the monumental “Nothing Lasts Forever” album released in '93. This was also their last work as the band the band split up, only to be re-united 22 years onwards with the 2016 comeback album “Back To Haunt”. Not much has changed ever since “Nothing Lasts Forever” furthering their classic Speed / Thrash Metal concept that clicks with bands such as Annihilator, Channel Zero and in particularly Anthrax (“Spreading The Disease” era), as evidenced on the galloping Bay Area Thrasher that is the titletrack, and the mid-paced “Patterns in The Sky” that comes complete with staccato riffage and backing shouts. The mid-range PowerMetal style vocals of Andre Grieder come with a light vibrato and connect with those of Anthrax' Joey Belladonna in a lower key. Songs are largely guitar / riff oriented and energetic with plenty of Bay Area style staccato riffage and tasty guitar flash, highlighted on “Gone And Forgotten” and “Patterns In The Sky. The albums offers a solid range of tracks with the tempo moving from moderately paced (“And So It Has Begun”) and up-tempo (“Faith Is Gone”) to SpeedMetal gear (“When The Ships Arrive”).The quality of the band is ever present throughout the disc; this is one clean, clear and energetic affair with a textbook performance. Solid.
Paul van der Burght
label: Pure Steel records
songs: Back To Haunt / Gone And Forgotten / Patterns In The Sky / And So It Has Begun / When The Ships Arrive / The Pillars Of Creation / Faith Is Gone / Flee From Today / Shell Beach / Beyond The Realms Of Time //
web: www.poltergeistmetal.com/
Switzerland's prime Thrashers Poltergeist have been around ever since the late 90's, and their career peaked in the 90's with the monumental “Nothing Lasts Forever” album released in '93. This was also their last work as the band the band split up, only to be re-united 22 years onwards with the 2016 comeback album “Back To Haunt”. Not much has changed ever since “Nothing Lasts Forever” furthering their classic Speed / Thrash Metal concept that clicks with bands such as Annihilator, Channel Zero and in particularly Anthrax (“Spreading The Disease” era), as evidenced on the galloping Bay Area Thrasher that is the titletrack, and the mid-paced “Patterns in The Sky” that comes complete with staccato riffage and backing shouts. The mid-range PowerMetal style vocals of Andre Grieder come with a light vibrato and connect with those of Anthrax' Joey Belladonna in a lower key. Songs are largely guitar / riff oriented and energetic with plenty of Bay Area style staccato riffage and tasty guitar flash, highlighted on “Gone And Forgotten” and “Patterns In The Sky. The albums offers a solid range of tracks with the tempo moving from moderately paced (“And So It Has Begun”) and up-tempo (“Faith Is Gone”) to SpeedMetal gear (“When The Ships Arrive”).The quality of the band is ever present throughout the disc; this is one clean, clear and energetic affair with a textbook performance. Solid.
Paul van der Burght
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OLD CHAPEL – 2016 “Visions From Beyond”
label: Chaos records
songs: Disastrous Rite / Stairs To The Vault / The Burning / Towards The End / The Nightmare Room / Skullhunter / Leaving A Body / Witchboard / Paura Nella Citta Dei Morti Viventi //
web: http://oldchapel.bandcamp.com
Second full-lengther by this Russian 3 piece, engaging some all-out 90's DeathMetal European style with an occasional hint of the Tampa DeathMetal thing thrown in. Think a mix of primarily Dutch Metal acts, such as Gorefest and Pestilence partnering with the the Swedish sound a la Entombed. Songs are riff-based and caked with thick guitars, a meaty production and deep, gurgling grunts. The tempo goes through various settings down the set; from fast -paced and snare drum driven, as on “Disastrous Rite” and “Stairs To The Vault”, to upbeat (“The Burning”), and combined slow / moderately paced with up-tempos (“Witchboard”, “Skullhunter” ) to slow paced (“Towards The End”). The more lethargic moments on the album slightly tend towards Doomy Death Metal without the minor, downtoned element. Old Chapel incorporates snare drummed drives and the occasional double bass action, but steers clear from blast beats. The vocalage is typical 90's DeathMetal style, featuring deep, gurgling grunts, and the guitars are crunchy with a hint of Thrash / Tampa style DeathMetal down a couple of tracks. The whole thing is rather straight-forward with added variety in tempos, and has this, honest, demo-band feel to it, complimenting the enjoyability of “Visions From The Past”.
Paul van der Burght
label: Chaos records
songs: Disastrous Rite / Stairs To The Vault / The Burning / Towards The End / The Nightmare Room / Skullhunter / Leaving A Body / Witchboard / Paura Nella Citta Dei Morti Viventi //
web: http://oldchapel.bandcamp.com
Second full-lengther by this Russian 3 piece, engaging some all-out 90's DeathMetal European style with an occasional hint of the Tampa DeathMetal thing thrown in. Think a mix of primarily Dutch Metal acts, such as Gorefest and Pestilence partnering with the the Swedish sound a la Entombed. Songs are riff-based and caked with thick guitars, a meaty production and deep, gurgling grunts. The tempo goes through various settings down the set; from fast -paced and snare drum driven, as on “Disastrous Rite” and “Stairs To The Vault”, to upbeat (“The Burning”), and combined slow / moderately paced with up-tempos (“Witchboard”, “Skullhunter” ) to slow paced (“Towards The End”). The more lethargic moments on the album slightly tend towards Doomy Death Metal without the minor, downtoned element. Old Chapel incorporates snare drummed drives and the occasional double bass action, but steers clear from blast beats. The vocalage is typical 90's DeathMetal style, featuring deep, gurgling grunts, and the guitars are crunchy with a hint of Thrash / Tampa style DeathMetal down a couple of tracks. The whole thing is rather straight-forward with added variety in tempos, and has this, honest, demo-band feel to it, complimenting the enjoyability of “Visions From The Past”.
Paul van der Burght
SWEET LICH – CD 2017 “Never Satisfied”
label: private
web: https://www.facebook.com/SweetLich/?fref=ts
Tagged as a 'Classic Metal Band From Sweden', 2-piece unit Sweet Lich truly live up to its description, showcasing a mix of 80's and 90's styled HardRock / Metal that has Sweden written all over down the mid-paced and riff-based opener “Aim” and the chorus of “Life On The Run”. The bobbing titletrack has a more chunky riff-style and light notes of Stoner, wrapped up in a 90's fashion that is also present on the riff-based gasoline Rocker “Rebellion” and the pounding, riff-roaring “Fight”. On the other end of the spectrum sits the classic, 80's styled German-meets-Scandinavian Rock Ballad, “Feelings”, hinting at the balladry of old Scorpions and Trance. Singer Jakob Kramsjö has a functional and crisp, HardRock-minded voice with a moderate rough edge that nicely gels with the guitars and the concept as a whole. Most songs roll on either a moderate or mid-paced drive and move around the 4 minute mark with the final 2 cuts, “Fight” and “Peace Of Mind” clocking in over 6 minutes. Sweet Lich offer a nice variety of straight-forward, entertaining HardRock numbers with a smooth roughness, an easy going vibe and gripping repeat-riffs that are the key element throughout.
Paul van der Burght
label: private
web: https://www.facebook.com/SweetLich/?fref=ts
Tagged as a 'Classic Metal Band From Sweden', 2-piece unit Sweet Lich truly live up to its description, showcasing a mix of 80's and 90's styled HardRock / Metal that has Sweden written all over down the mid-paced and riff-based opener “Aim” and the chorus of “Life On The Run”. The bobbing titletrack has a more chunky riff-style and light notes of Stoner, wrapped up in a 90's fashion that is also present on the riff-based gasoline Rocker “Rebellion” and the pounding, riff-roaring “Fight”. On the other end of the spectrum sits the classic, 80's styled German-meets-Scandinavian Rock Ballad, “Feelings”, hinting at the balladry of old Scorpions and Trance. Singer Jakob Kramsjö has a functional and crisp, HardRock-minded voice with a moderate rough edge that nicely gels with the guitars and the concept as a whole. Most songs roll on either a moderate or mid-paced drive and move around the 4 minute mark with the final 2 cuts, “Fight” and “Peace Of Mind” clocking in over 6 minutes. Sweet Lich offer a nice variety of straight-forward, entertaining HardRock numbers with a smooth roughness, an easy going vibe and gripping repeat-riffs that are the key element throughout.
Paul van der Burght
PRIMAL FEAR – 2016 “Rulebreaker”
label: Frontiers records
songs: Angels Of Mercy / The End Is Near / Bullets & Tears / Rulebreaker / In Metal We Trust / We Walk Without Fear / At War With The World / The Devil In Me / Constant Heart / The Sky Is Burning / Raving Mad //
web: www.primalfear.de
German act Primal Fear goes back a long way in Metal history, featuring members of Gamma Ray and Sinner, and having popped out albums ever since '98. This experience clearly reflects in the music, and as such, “Rulebreaker” has quality written all over. Songs stick together very well, and even though the band mainly resorts to a straight forward approach, the musicianship and skill is evident with some tasty, allround guitarwork. Primal Fear holds high the German Metal tradition, although the music is too heavily powered up to give it that old-school feel. The album opens with the chunky, mid-paced Metal pounder “Angels Of Mercy” that sets the tone for the concept on display; meaty riffs, power-grooves and roary vocals, beefed up by a solid, power-punch production. Throughout the album, there's more than one connection with Judas Priest, pushed forward on the slightly more melodic, Mainstream approached and “Breaking The Law” tinged “Bullets & Tears”, plus the “Painkiller” esque semi Headbanger / PowerMetaler “Constant Heart”, highlighting the vocal abilities of singer Ralf Scheepers, throwing in some high pitched modes. There's a good combination of Headbangers and unpretentious, fist-pumping, riff-based Metalers with a strong shout along factor. More in-depth programming comes in the shape of the melo-dramatic, 10+ minute, semi-Progressive PowerMetaler “We Walk Without Fear”, nicely balancing the set. In all, a convincing and entertaining album without any frills.
Paul van der Burght
label: Frontiers records
songs: Angels Of Mercy / The End Is Near / Bullets & Tears / Rulebreaker / In Metal We Trust / We Walk Without Fear / At War With The World / The Devil In Me / Constant Heart / The Sky Is Burning / Raving Mad //
web: www.primalfear.de
German act Primal Fear goes back a long way in Metal history, featuring members of Gamma Ray and Sinner, and having popped out albums ever since '98. This experience clearly reflects in the music, and as such, “Rulebreaker” has quality written all over. Songs stick together very well, and even though the band mainly resorts to a straight forward approach, the musicianship and skill is evident with some tasty, allround guitarwork. Primal Fear holds high the German Metal tradition, although the music is too heavily powered up to give it that old-school feel. The album opens with the chunky, mid-paced Metal pounder “Angels Of Mercy” that sets the tone for the concept on display; meaty riffs, power-grooves and roary vocals, beefed up by a solid, power-punch production. Throughout the album, there's more than one connection with Judas Priest, pushed forward on the slightly more melodic, Mainstream approached and “Breaking The Law” tinged “Bullets & Tears”, plus the “Painkiller” esque semi Headbanger / PowerMetaler “Constant Heart”, highlighting the vocal abilities of singer Ralf Scheepers, throwing in some high pitched modes. There's a good combination of Headbangers and unpretentious, fist-pumping, riff-based Metalers with a strong shout along factor. More in-depth programming comes in the shape of the melo-dramatic, 10+ minute, semi-Progressive PowerMetaler “We Walk Without Fear”, nicely balancing the set. In all, a convincing and entertaining album without any frills.
Paul van der Burght
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FURNAZE – CD 2012 “NONE MORE BLACK”
label: private
songs: Bending Time / Breathe In The Fire / Fresse / Ghost Rider / None More Black / 2012 / Anger Flow / Mass Frustration / Ultimate Sacrifice / Fight / Unbound And Underground / CYA //
web: http://www.furnaze.com/
London based three piece unit Furnaze are one of those acts that truly breathe the Underground spirit, and their live performance is of the kind that interacts and connects with the audience at a large scale. The studio work also captures the incredible intensity of their music, addressing to classic, 90's (Bay Area) Thrash that hints at Forbidden, Horde Of Torment, Channel Zero and Testament. Most of the songs are high-speed driven and fuelled by galloping snare drummed drives, blistering staccato riffage, mobility riff-hooks and roary, tough as nails vocals. This combination is best captured on the scorchers “Breathe In The Fire” (featuring some insanely fast guitar chops and sweep picking), “Mass Frustration” and “Ultimate Sacrifice”. A nice twist in concept comes in the shape of the straight Metaler “2012”, the Annihilator-meets Megadeth esque Metal pounder “Ghost Rider”, and the mid-paced head bobber “None More Black” drawing similarities to Pantera's powergrooves; a thing that clearly comes back down the Thrashed up Headbanger “Fight”. The timing and teamwork of Furnaze is ultra tight and intelligent without being too technical or Progressive. This is one very convincing power / groove injected Thrash affair that has the 90's written all over, and comes with a whole lot of blistering guitar hooks that also make the band click with Megadeth. Great.
Paul van der Burght
label: private
songs: Bending Time / Breathe In The Fire / Fresse / Ghost Rider / None More Black / 2012 / Anger Flow / Mass Frustration / Ultimate Sacrifice / Fight / Unbound And Underground / CYA //
web: http://www.furnaze.com/
London based three piece unit Furnaze are one of those acts that truly breathe the Underground spirit, and their live performance is of the kind that interacts and connects with the audience at a large scale. The studio work also captures the incredible intensity of their music, addressing to classic, 90's (Bay Area) Thrash that hints at Forbidden, Horde Of Torment, Channel Zero and Testament. Most of the songs are high-speed driven and fuelled by galloping snare drummed drives, blistering staccato riffage, mobility riff-hooks and roary, tough as nails vocals. This combination is best captured on the scorchers “Breathe In The Fire” (featuring some insanely fast guitar chops and sweep picking), “Mass Frustration” and “Ultimate Sacrifice”. A nice twist in concept comes in the shape of the straight Metaler “2012”, the Annihilator-meets Megadeth esque Metal pounder “Ghost Rider”, and the mid-paced head bobber “None More Black” drawing similarities to Pantera's powergrooves; a thing that clearly comes back down the Thrashed up Headbanger “Fight”. The timing and teamwork of Furnaze is ultra tight and intelligent without being too technical or Progressive. This is one very convincing power / groove injected Thrash affair that has the 90's written all over, and comes with a whole lot of blistering guitar hooks that also make the band click with Megadeth. Great.
Paul van der Burght
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IRON CURTAIN – CD 2016 “Guilty As Charged”
label: Pure Steel records
songs: Into The Fire / Dragon's Breath / Take It Back / Relentless / Iron Price / Outlaw / Wild & Rebel / Guilty As Charged / Turn The Hell On //
web: www.facebook.com/pages/IRONCURTAIN/168183273229512
Spanish Metalers doing some traditional Euro / Speed Metal with a significant NWOBHM root and lots of tasty guitarwork. This is one unpretentious and energetic affair that is all fast, minus the mid-paced fist pumpin' HardRocker “Relentless”, and the upbeat, slightly Tank-ish “Outlaw”. Music has a strong, early 80's feel and sounds honest, like it has been recorded live in the studio, particularly drum-wise. The guitars are applied either in HardRock modus or in a rhythm riffed SpeedMetal fashion. Singer Mike Leprosy delivers a mid-range tone voice and style that is either melodic edged or hoarse and raised. Overall, “Guilty As Charged” is a non-stop action affair, and a true Headbangers delight that comes with all the trimmings. Great!
Paul van der Burght
label: Pure Steel records
songs: Into The Fire / Dragon's Breath / Take It Back / Relentless / Iron Price / Outlaw / Wild & Rebel / Guilty As Charged / Turn The Hell On //
web: www.facebook.com/pages/IRONCURTAIN/168183273229512
Spanish Metalers doing some traditional Euro / Speed Metal with a significant NWOBHM root and lots of tasty guitarwork. This is one unpretentious and energetic affair that is all fast, minus the mid-paced fist pumpin' HardRocker “Relentless”, and the upbeat, slightly Tank-ish “Outlaw”. Music has a strong, early 80's feel and sounds honest, like it has been recorded live in the studio, particularly drum-wise. The guitars are applied either in HardRock modus or in a rhythm riffed SpeedMetal fashion. Singer Mike Leprosy delivers a mid-range tone voice and style that is either melodic edged or hoarse and raised. Overall, “Guilty As Charged” is a non-stop action affair, and a true Headbangers delight that comes with all the trimmings. Great!
Paul van der Burght
OVERLORD – LP 2017 “The Expanded Edition”
label: NW Metalworx http://nwmetalworxmusic.com/
songs: On The Edge / Outsider / Another Lonely Nite / Had Enough / Looking At You / Blame It On The Kids / Screaming At The Walls / Promises / Leave It All Behind / Pushed Out The Door (bonus track) Sometimes... gets The Best Of Me (live) //
This is the very same Overlord (from Washington, USA) that released the “Broken Toys” EP in '82. This collection features all the songs of the EP, along with some unreleased songs, including those from the '83 demo tape (“Screaming At The Walls”, “Promises”, “Leave It All Behind”). Overlord sort of amalgamated elements of Punk with Metal that generates this roughed up American Sleaze Rock sound with notes of HardRock running underneath. Opening tune “On The Edge”, but particularly ”Outsider” testify to this with the 'stretched' snarl vocals adding up to the feel. Concept wise, Overlord moves somewhere in between classic American acts such as Ratt, Warrior Soul and Hanoi Rocks. The material is predominantly mid-paced and straight forward type with a strong groove element. The guitarwork, or at least the solo-action is quite contrasting with the musical concept and has US Metal written all over on certain occasions. More HardRock minded moments on the disc come in the shape of “Looking At You”, “Blame It On The Kids” and the demo tracks, with “Promises” as the most Mainstream / Radio Rock oriented track.
Paul van der Burght
label: NW Metalworx http://nwmetalworxmusic.com/
songs: On The Edge / Outsider / Another Lonely Nite / Had Enough / Looking At You / Blame It On The Kids / Screaming At The Walls / Promises / Leave It All Behind / Pushed Out The Door (bonus track) Sometimes... gets The Best Of Me (live) //
This is the very same Overlord (from Washington, USA) that released the “Broken Toys” EP in '82. This collection features all the songs of the EP, along with some unreleased songs, including those from the '83 demo tape (“Screaming At The Walls”, “Promises”, “Leave It All Behind”). Overlord sort of amalgamated elements of Punk with Metal that generates this roughed up American Sleaze Rock sound with notes of HardRock running underneath. Opening tune “On The Edge”, but particularly ”Outsider” testify to this with the 'stretched' snarl vocals adding up to the feel. Concept wise, Overlord moves somewhere in between classic American acts such as Ratt, Warrior Soul and Hanoi Rocks. The material is predominantly mid-paced and straight forward type with a strong groove element. The guitarwork, or at least the solo-action is quite contrasting with the musical concept and has US Metal written all over on certain occasions. More HardRock minded moments on the disc come in the shape of “Looking At You”, “Blame It On The Kids” and the demo tracks, with “Promises” as the most Mainstream / Radio Rock oriented track.
Paul van der Burght
LOCKHOWL – CD / Cass. 2017 “Pareidolla”
label: Granite Factory records (CD) / Occult Whispers records (cassette)
songs: The Seventh Room / Echoes From The Chemical Void / Nephilim / Into The Darkness, Into The Unknkown / Graveless / Lost In The Static / .. And She Was Found By The Lake / Her
web:https://lockhowl.bandcamp.com/
LockHowl is a one-man project from Scotland that has formulated its 'Reverb Drenched Gothic Post-Punk' concept from inspirational sources such as Opeth, Type O Negative, Cradle Of Filth and Joy Division. This 8 songer is a follow up to the 2015 “Lost In The Static” EP and features a melange of dark, 80's Punk Pop / Wave and 90's Gothic / Atmospheric Metal laced with ambient modes and light Industrial notes. The vocals mainly operate in a minor toned, level-voice, accenting the dark vibe, whilst the guitars generate most of its ambient moods. There's quite a bit going on vocally, with turns towards BlackMetal growlage, grunts and Gothic / Gregorian chants that all add up to its atmosphere. This thing could have sounded Orchestral in the 90's Gothic tradition, but opting for a less 'bombastic' production and instrumentation is a smart move here. This is one strong, and structurally convincing album that is very pleasant to the ear in all its shapes and forms. Entertaining.
Paul van der Burght
label: Granite Factory records (CD) / Occult Whispers records (cassette)
songs: The Seventh Room / Echoes From The Chemical Void / Nephilim / Into The Darkness, Into The Unknkown / Graveless / Lost In The Static / .. And She Was Found By The Lake / Her
web:https://lockhowl.bandcamp.com/
LockHowl is a one-man project from Scotland that has formulated its 'Reverb Drenched Gothic Post-Punk' concept from inspirational sources such as Opeth, Type O Negative, Cradle Of Filth and Joy Division. This 8 songer is a follow up to the 2015 “Lost In The Static” EP and features a melange of dark, 80's Punk Pop / Wave and 90's Gothic / Atmospheric Metal laced with ambient modes and light Industrial notes. The vocals mainly operate in a minor toned, level-voice, accenting the dark vibe, whilst the guitars generate most of its ambient moods. There's quite a bit going on vocally, with turns towards BlackMetal growlage, grunts and Gothic / Gregorian chants that all add up to its atmosphere. This thing could have sounded Orchestral in the 90's Gothic tradition, but opting for a less 'bombastic' production and instrumentation is a smart move here. This is one strong, and structurally convincing album that is very pleasant to the ear in all its shapes and forms. Entertaining.
Paul van der Burght
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Dö – CD 2016 “Tuho”
label: private
songs: Born Under Black Wings / Everblast II (The Aftermath) / Ex Oblivione / Kylma / Hail The Fire / Forsaken Be Thy Name //
web: www.denofdo.com
Third outlet by this Finland based three-piece , furthering the concept of the 2015 “Den” E.P. Engaging some slow paced Stoner Doom that is layered with atmospheric, almost ambient like moods, peaking on “Everblast II” and the spaced out, 6+ minute “Ex Oblivione”. Apart from the slow Doomsters “Kylma” and Forsaken Be Thy Name”, the guitars aren't hat massilvely downtoned, and more 70's minded to accommodate songs such as “Born Under Black Wings” and “Ex Oblivione”. The vocals are gruff, raspy and talk type to match the allround vibe of the music. For the genre, Dö has slipped in an adequate diversity flow both concept and song-wise that is further upgraded by the semi Epic / Folk-ish, acoustic guitar & vocal only piece (“Hail The Fire”) and the guitar-melody instrumental ending of the lethargic 12+ minute Doomster “Forsaken Be Thy Name”. Once again, Dö have managed to give the Stoner Doom sound their own, Nordic edged swing; a formula that works as witnessed on this 6-songer.
Paul van der Burght
label: private
songs: Born Under Black Wings / Everblast II (The Aftermath) / Ex Oblivione / Kylma / Hail The Fire / Forsaken Be Thy Name //
web: www.denofdo.com
Third outlet by this Finland based three-piece , furthering the concept of the 2015 “Den” E.P. Engaging some slow paced Stoner Doom that is layered with atmospheric, almost ambient like moods, peaking on “Everblast II” and the spaced out, 6+ minute “Ex Oblivione”. Apart from the slow Doomsters “Kylma” and Forsaken Be Thy Name”, the guitars aren't hat massilvely downtoned, and more 70's minded to accommodate songs such as “Born Under Black Wings” and “Ex Oblivione”. The vocals are gruff, raspy and talk type to match the allround vibe of the music. For the genre, Dö has slipped in an adequate diversity flow both concept and song-wise that is further upgraded by the semi Epic / Folk-ish, acoustic guitar & vocal only piece (“Hail The Fire”) and the guitar-melody instrumental ending of the lethargic 12+ minute Doomster “Forsaken Be Thy Name”. Once again, Dö have managed to give the Stoner Doom sound their own, Nordic edged swing; a formula that works as witnessed on this 6-songer.
Paul van der Burght
Ever since Chicago based outfit Witchslayer circulated their ’82 5-song demo, it took the collector’s scene by storm. The band won over even more Metalheads worldwide with their contribution to the “Metal Massacre IV” compilation with the song “I Don’t
Want To Die”. In addition to the demo, Witchslayer had a whole repertoire of riveting originals such as “Baneful Ruin”,”Rebecca Nurse”, and “Rockin' On Top” that never materialized. The classic story of an excellent band with serious potential that never got to vinylize their material and take it to the next level. In this interview, that I did with the band years ago, guitarist Craig McMahon and singer Jeff Allen, reflect on the early days of Witchslayer
Want To Die”. In addition to the demo, Witchslayer had a whole repertoire of riveting originals such as “Baneful Ruin”,”Rebecca Nurse”, and “Rockin' On Top” that never materialized. The classic story of an excellent band with serious potential that never got to vinylize their material and take it to the next level. In this interview, that I did with the band years ago, guitarist Craig McMahon and singer Jeff Allen, reflect on the early days of Witchslayer
How did the band get together and what bands did you guys play in before Witchslayer?
Jeff : We all met through mutual friends in High School. I had been singing in this really bad 70’s Rock garage band and wanted to get into a Metal band. I met Craig, Tom and Pat at a party and they were looking for a singer. They asked me to come by their rehearsal space at Ken the drummer’s house’s basement and try out. So I went by one night and we jammed. The chemistry felt good and we just went from there. They wanted me to start learning Priest, Maiden, Def Leppard, Sabbath, Ozzy & Angelwitch tunes. It was much better than doing Skynyrd, Zeppelin, Stones & Pink Floyd. Next thing you know we’re doing bars, parties and town halls.
Craig : WitchSlayer was my first band. We all lived in like a square mile radius from each other. Our practices at first, were always down in someone’s basement, kind of a hang out. We were drinking buddies dreaming of being on stage with a wall of Marshalls behind us. Then we were asked to play high school parties. And that’s when it hit us. The next thing you know we’re filling large halls (2000) and I’m like, 'Fuck this is what I want to do!' Then later it got serious, and we practised and practised, writing and changing line-ups until it ended up with Jeff, Dale, Sean and myself.
Jeff : We all met through mutual friends in High School. I had been singing in this really bad 70’s Rock garage band and wanted to get into a Metal band. I met Craig, Tom and Pat at a party and they were looking for a singer. They asked me to come by their rehearsal space at Ken the drummer’s house’s basement and try out. So I went by one night and we jammed. The chemistry felt good and we just went from there. They wanted me to start learning Priest, Maiden, Def Leppard, Sabbath, Ozzy & Angelwitch tunes. It was much better than doing Skynyrd, Zeppelin, Stones & Pink Floyd. Next thing you know we’re doing bars, parties and town halls.
Craig : WitchSlayer was my first band. We all lived in like a square mile radius from each other. Our practices at first, were always down in someone’s basement, kind of a hang out. We were drinking buddies dreaming of being on stage with a wall of Marshalls behind us. Then we were asked to play high school parties. And that’s when it hit us. The next thing you know we’re filling large halls (2000) and I’m like, 'Fuck this is what I want to do!' Then later it got serious, and we practised and practised, writing and changing line-ups until it ended up with Jeff, Dale, Sean and myself.
Has the line up: Rick Manson (bass), Craig McMahon (guitar), Jeff Allen (vocals) and Dale Clark (drums) been the original or final line up?
Jeff : That was the final line up. The original line up started in High School. It was myself on vocals, Craig and Tom McNeely on Guitars, Pat Ryan on Bass and some guy named Ken on Drums. We played all over the area at bars/parties/town halls etc… then egos got in the way. Craig and I were the brains behind the band and were always the ones still standing when the dust settled. Together we came up with the name Witchslayer as sort of a play on Angelwitch who we thought was Black metal where in turn we wanted to be perceived as White metal. After the original line-up fell apart and we were unsuccessful finding a good second guitarist, Craig and I decided to go with just one Guitar player.
We knew Sean McCallister from High School and were friends with him and recruited him to play Bass for Witchslayer. He was in the band when we decided to go all original and stop playing covers. Sean eventually left us to go record and tour with Trouble. Sean was an awesome Bass player. We really had fun when he was in the band. We recruited Dale from the local entertainment paper that came out every month. There was a section where musicians looking for bands could put ads out looking for work. Craig went to hear Dale play and thought he had potential. He told Dale that he could join our band if he bought a new Drum set. Dale had been playing on what looked like a starter Drum Kit. He went out the next day and bought a brand new kit that kicked ass. With that he proved to be pretty dedicated to making the band successful so we brought him into the mix. After Sean left we recruited Rick Manson from the same paper we recruited Dale from. We never felt truly comfortable with Rick though because he would get pretty crazy. He was into Speed / Thrash / Death Metal and punk Rock.
Craig : I don’t think we recorded any studio stuff with Rick only live. Rick had great timing and Sean had more music knowledge. But I do remember Rick coming to an audition knowing all of our songs. In comes this crazy ass guy with this hair from hell and a major overbite, playing our songs! I’m like, he’ll do, can you make this show and he said when.
What were the prime inspirational sources? Obviously Sabbath was included?
Jeff : I think the primary influences on our sound were from Ozzy/Sabbath and Angelwitch. We are tossing around the idea of covering an Angelwitch song on our album as a tribute to Kevin Heybourne and his band. When the band first started out we were covering tunes from Saxon, Priest, Maiden, Sabbath, Motorhead, Def Leppard, Raven, Angelwitch, Ozzy, & the Tygers of Pan Tang.
Craig : When I saw Randy Rhodes live, I thought to myself, I could never reach that level. I could just sit and listen to him without Ozzy. I love all those bands that Jeff mentioned, but the spot I wanted to fill, was a sound that was like a horror movie, but in songs. That’s what Witchslayer songs were, mini horror stories. The speed metal bands to me, felt like anger and destruction. So we went for the dark sound. I eventually trained at Randy Rhodes’s mother’s school to learn classical guitar. Talking about Kevin Heybourne, I tried to get in touch with him about a movie score project that paid very well, he would have been perfect for the job. I later learned he moved back to Europe from California.
In '82 you circulated a superb 5-track demo, was this planned as an official demo, or merely for promotional purposes, how many copies were circulated and did it come with an inlay?
Jeff : We wanted to take a stab at recording and so we put together the 5-track demo as a promotional tool. We only released it on a cassette tape through our fan club. The tape just had a homemade black-n-white cover with the name of the band, tunes and where / when it was recorded. I really couldn’t say how many we sold. It sure did get around though. We should’ve just released it as an EP on an independent label. But at that point we really didn’t think we were good enough to formally release anything. We were our worst critics.
Craig : That was our second studio project. Our first demo had 3 songs “Witchslayer”, “Crypt” and “I Don’t Wanna Die”, but it was very muddy, so we went back in to try again and came out with our 5 song demo. Songs from that demo started charting on radio stations. We sold tapes through the fan club (Chicago and Germany) for like 5 dollars or something, but as time went on, we were selling a lot of merchandise (t-shirts, pins, photos) , something you can’t copy!
Jeff : That was the final line up. The original line up started in High School. It was myself on vocals, Craig and Tom McNeely on Guitars, Pat Ryan on Bass and some guy named Ken on Drums. We played all over the area at bars/parties/town halls etc… then egos got in the way. Craig and I were the brains behind the band and were always the ones still standing when the dust settled. Together we came up with the name Witchslayer as sort of a play on Angelwitch who we thought was Black metal where in turn we wanted to be perceived as White metal. After the original line-up fell apart and we were unsuccessful finding a good second guitarist, Craig and I decided to go with just one Guitar player.
We knew Sean McCallister from High School and were friends with him and recruited him to play Bass for Witchslayer. He was in the band when we decided to go all original and stop playing covers. Sean eventually left us to go record and tour with Trouble. Sean was an awesome Bass player. We really had fun when he was in the band. We recruited Dale from the local entertainment paper that came out every month. There was a section where musicians looking for bands could put ads out looking for work. Craig went to hear Dale play and thought he had potential. He told Dale that he could join our band if he bought a new Drum set. Dale had been playing on what looked like a starter Drum Kit. He went out the next day and bought a brand new kit that kicked ass. With that he proved to be pretty dedicated to making the band successful so we brought him into the mix. After Sean left we recruited Rick Manson from the same paper we recruited Dale from. We never felt truly comfortable with Rick though because he would get pretty crazy. He was into Speed / Thrash / Death Metal and punk Rock.
Craig : I don’t think we recorded any studio stuff with Rick only live. Rick had great timing and Sean had more music knowledge. But I do remember Rick coming to an audition knowing all of our songs. In comes this crazy ass guy with this hair from hell and a major overbite, playing our songs! I’m like, he’ll do, can you make this show and he said when.
What were the prime inspirational sources? Obviously Sabbath was included?
Jeff : I think the primary influences on our sound were from Ozzy/Sabbath and Angelwitch. We are tossing around the idea of covering an Angelwitch song on our album as a tribute to Kevin Heybourne and his band. When the band first started out we were covering tunes from Saxon, Priest, Maiden, Sabbath, Motorhead, Def Leppard, Raven, Angelwitch, Ozzy, & the Tygers of Pan Tang.
Craig : When I saw Randy Rhodes live, I thought to myself, I could never reach that level. I could just sit and listen to him without Ozzy. I love all those bands that Jeff mentioned, but the spot I wanted to fill, was a sound that was like a horror movie, but in songs. That’s what Witchslayer songs were, mini horror stories. The speed metal bands to me, felt like anger and destruction. So we went for the dark sound. I eventually trained at Randy Rhodes’s mother’s school to learn classical guitar. Talking about Kevin Heybourne, I tried to get in touch with him about a movie score project that paid very well, he would have been perfect for the job. I later learned he moved back to Europe from California.
In '82 you circulated a superb 5-track demo, was this planned as an official demo, or merely for promotional purposes, how many copies were circulated and did it come with an inlay?
Jeff : We wanted to take a stab at recording and so we put together the 5-track demo as a promotional tool. We only released it on a cassette tape through our fan club. The tape just had a homemade black-n-white cover with the name of the band, tunes and where / when it was recorded. I really couldn’t say how many we sold. It sure did get around though. We should’ve just released it as an EP on an independent label. But at that point we really didn’t think we were good enough to formally release anything. We were our worst critics.
Craig : That was our second studio project. Our first demo had 3 songs “Witchslayer”, “Crypt” and “I Don’t Wanna Die”, but it was very muddy, so we went back in to try again and came out with our 5 song demo. Songs from that demo started charting on radio stations. We sold tapes through the fan club (Chicago and Germany) for like 5 dollars or something, but as time went on, we were selling a lot of merchandise (t-shirts, pins, photos) , something you can’t copy!
Was this your first set of songs or did you, previously have other songs to choose from referring to titles such as “The Crypt”, “Baneful Ruin” and “Rockin On Top” which were performed live (at the famous Aurora gig)?
Jeff : We had twelve songs to choose from. Why we recorded those particular five I don’t know. We had the five on the demo (“Witchslayer”, “Losin It”, “I Don’t Want To Die”, “Seduction”, & “Deceiver”) as well as “The Salem Trials”, “The Crypt”, “Augery”, “Hang Em High”, “Vixen”, “Baneful Ruin”, & “Rockin On Top”. When we did the demo though we were in the process of losing Sean. So I imagine it was time and money that played into it. He did the demo with us and then split to be in the band “Trouble”. I would also imagine we were saving the others for any future albums we thought we might do.
Craig : I remember recording some of our practices but they are gone.
Where did the demo, or the band in general, get most feedback, USA or Europe, I recall you guys were favored by the European Metal press?
Jeff : Most of the interest came from Europe. I guess since we developed our sound listening to European acts it made sense that we were more popular in Europe than in our own country. Craig says he has about 15 European magazines that did interviews with us and maybe 2 or 3 North American magazines. We had a guy named Bob Nordstrom who ran our fan club “The Crypt” from Chicago. He had shoeboxes filled with fan mail from Europe.
Craig : I remember going to Bob Nordstrom’s place (the fan club guy in Chicago) and he showed me all this fan mail (mostly from Europe) in boxes. To be honest, I was too stupid to realize what was happening. I should have grabbed the guys and moved our asses to Europe right then and there! We knew the demo was being copied and traded so it’s hard to tell how many were circulated. Bob gave me a few of these boot boxes filled with fan mail and my girl friend and I sat up all night reading all these letters. I remember saying “The demo! Are you sure you have the right band”
Jeff : We had twelve songs to choose from. Why we recorded those particular five I don’t know. We had the five on the demo (“Witchslayer”, “Losin It”, “I Don’t Want To Die”, “Seduction”, & “Deceiver”) as well as “The Salem Trials”, “The Crypt”, “Augery”, “Hang Em High”, “Vixen”, “Baneful Ruin”, & “Rockin On Top”. When we did the demo though we were in the process of losing Sean. So I imagine it was time and money that played into it. He did the demo with us and then split to be in the band “Trouble”. I would also imagine we were saving the others for any future albums we thought we might do.
Craig : I remember recording some of our practices but they are gone.
Where did the demo, or the band in general, get most feedback, USA or Europe, I recall you guys were favored by the European Metal press?
Jeff : Most of the interest came from Europe. I guess since we developed our sound listening to European acts it made sense that we were more popular in Europe than in our own country. Craig says he has about 15 European magazines that did interviews with us and maybe 2 or 3 North American magazines. We had a guy named Bob Nordstrom who ran our fan club “The Crypt” from Chicago. He had shoeboxes filled with fan mail from Europe.
Craig : I remember going to Bob Nordstrom’s place (the fan club guy in Chicago) and he showed me all this fan mail (mostly from Europe) in boxes. To be honest, I was too stupid to realize what was happening. I should have grabbed the guys and moved our asses to Europe right then and there! We knew the demo was being copied and traded so it’s hard to tell how many were circulated. Bob gave me a few of these boot boxes filled with fan mail and my girl friend and I sat up all night reading all these letters. I remember saying “The demo! Are you sure you have the right band”
Has the demo also been sent to Record labels worldwide?
Craig : Megaforce’s Jon Z had a deal for us, a 120 hours of studio time, but he ended up selling the label and the deal fell apart. That depressed us and started tension between band members. Recently I heard that Jon Z doesn’t even remember even talking to me. That! is the kind of shit that makes you hate the business. Brian Slagel offered a deal but no studio time and at the time we were broke and falling apart. We thought about overseas labels, but we were splitting up and it felt out of reach.
The demo portrayed a sound ahead of it's time, and could easily have served as a blueprint for bands such as Nasty Savage and Tyrant, coupling the Doom aspect to (Power) Metal in an incredibly intense and versatile manner, do you feel yourselves you may have inspired others ad how do you think you might have pulled it off a few years on?
Jeff : Well I’m not sure if we ever inspired newer bands with our sound, but when you look at the big picture music is constantly evolving and building upon itself. If we did inspire bands then that would be awesome and hopefully they can take it to the next level. To be honest now that twenty years have passed and I listen to our music I kick myself in the head. I think it has held up over time and still sounds great today. Craig was and still is a great songwriter/musician. Maybe I’m biased because I’m from that era but I love the stuff we did and think we could’ve made some noise had we stuck it out and gone the next step.
Craig : When we broke up I lost touch with the Metal, and when the wonderful people in L.A. destroyed metal altogether, I was done. So I have no idea what influence we had on other acts. Thinking back we should have taken some time off to collect ourselves and then continued on. You see the United States are very fickle people, what’s in today is out tomorrow. I figured our window of opportunity was gone. I was completely unaware of the loyalty overseas.
The song "I Don't Want To Die" appeared on Metal Massacre vol. IV ('84 Metal Blade) but was ruined (as confirmed by many reviewers from the Metal press) by the mix/production, what happened and how was your reaction once you heard the absence of power and intensity from the demo-version?
Jeff : Well we pretty much gave Brian Slagel the master to “I Don’t Want To Die” that we recorded when we did the demo tape. He and Metal Blade took it from there. I was personally a little disappointed with the way the tune sounded once released. It seemed to have lost its live / rough edge that is contained on our demo. It sounded way too polished on the MM IV release.
Craig : In mastering for records, engineers go by what’s called the “RedBook” industry standards, which always pissed me off! Metal needs a “BlackBook” so the song can be distorted and pushed past the red, that’s when a song starts to kick you in the teeth, is when you push it. But shit, Brian Slagel and friends were kids like us making mistakes along with cool stuff.
How did you get in touch with Metal Blade anyways, and did you have a say in the choice of the contribution to the compilation? Don't you think a song like the speed-driven "Rockin' On Top"? would have fit in better there, moreover as that was the new trend in Metal..?
Jeff : Well first off we had heard that Metal Blade was accepting tapes for their 4th release and we knew that Metallica had been on the 1st release, so that gave Metal Blade some credibility in our eyes. We had just started to record our own original music and we thought it would be cool to get a tune on the album.
So there was this huge 3-day Woodstock type of music festival that was going to be held in San Bernadino, California that year. It was called the US Festival and was being put together by Steve Wozniak who was one of the guys who started Apple Computers. Each day had a different theme. The first was Country, the second was Heavy Metal, and the third was New Wave. When we heard about the Heavy Metal day line up we decided to go out there on holiday to check out the concert as well as the LA scene, which was exploding at the time. So Craig, myself, and the guys from War Cry all went together. We hooked up with some of the guys from Thrust as well, who had moved to LA and were trying to make it there. It was a wild time, it seemed like someone from every band was hanging around the Sunset Strip the night before the big gig. The line-up at the Heavy Metal day featured (in order of appearance) Quiet Riot, Motley Crue, Ozzy (w/Randy Rhodes), Judas Priest, Triumph, The Scorpions, and Van Halen (w/David Lee Roth). That was the gig where Van Halen got paid a million bucks to do the show and asked to have a bowl of M&M’s provided with the brown M&M’s removed.
So at some point we dropped in on Brian Slagel at the Metal Blade office (in the “valley”) and gave him a tape. Next thing you know Thrust, and War Cry were sending him tapes as well. Soon the whole Chicago theme idea came to light and Trouble and Zoetrope were also sending tapes. Craig and I paid a visit to Randy Rhodes mom’s music school while we were out there as well.
The Speed / Thrash Metal tune you are referring, “Rockin on Top” was really the only Speed Metal tune we ever wrote. Since it was the trend at the time we wanted to show that we could go in that direction yet chose not to. Craig and I always tried to be unique and carve our own style of Metal music and not follow what every one else was doing. Besides, why would you want to try and top bands like Metallica, Megadeath, Raven and Slayer?
Lastly Slagel kept the rights to any tunes he put on his compilations. So we decided that we would give him a song that would not bother us if we never used it again. So we gave him “I Don’t Wanna Die”. The song is about a guy who is caught witnessing a mob murder and is fleeing for his own life.
Craig : I remember hanging out with Brian in Woodland hills California. He had a small little office, but I think the thing that led us to release a song on his compilation, was that he-loved-Metal. Our attorney told us that all labels paid studio time, and that Metal Blade was, at that time, too small. We gave up a song against our attorney’s advice. Now look at Brian! The dude still rocks.
Craig : Megaforce’s Jon Z had a deal for us, a 120 hours of studio time, but he ended up selling the label and the deal fell apart. That depressed us and started tension between band members. Recently I heard that Jon Z doesn’t even remember even talking to me. That! is the kind of shit that makes you hate the business. Brian Slagel offered a deal but no studio time and at the time we were broke and falling apart. We thought about overseas labels, but we were splitting up and it felt out of reach.
The demo portrayed a sound ahead of it's time, and could easily have served as a blueprint for bands such as Nasty Savage and Tyrant, coupling the Doom aspect to (Power) Metal in an incredibly intense and versatile manner, do you feel yourselves you may have inspired others ad how do you think you might have pulled it off a few years on?
Jeff : Well I’m not sure if we ever inspired newer bands with our sound, but when you look at the big picture music is constantly evolving and building upon itself. If we did inspire bands then that would be awesome and hopefully they can take it to the next level. To be honest now that twenty years have passed and I listen to our music I kick myself in the head. I think it has held up over time and still sounds great today. Craig was and still is a great songwriter/musician. Maybe I’m biased because I’m from that era but I love the stuff we did and think we could’ve made some noise had we stuck it out and gone the next step.
Craig : When we broke up I lost touch with the Metal, and when the wonderful people in L.A. destroyed metal altogether, I was done. So I have no idea what influence we had on other acts. Thinking back we should have taken some time off to collect ourselves and then continued on. You see the United States are very fickle people, what’s in today is out tomorrow. I figured our window of opportunity was gone. I was completely unaware of the loyalty overseas.
The song "I Don't Want To Die" appeared on Metal Massacre vol. IV ('84 Metal Blade) but was ruined (as confirmed by many reviewers from the Metal press) by the mix/production, what happened and how was your reaction once you heard the absence of power and intensity from the demo-version?
Jeff : Well we pretty much gave Brian Slagel the master to “I Don’t Want To Die” that we recorded when we did the demo tape. He and Metal Blade took it from there. I was personally a little disappointed with the way the tune sounded once released. It seemed to have lost its live / rough edge that is contained on our demo. It sounded way too polished on the MM IV release.
Craig : In mastering for records, engineers go by what’s called the “RedBook” industry standards, which always pissed me off! Metal needs a “BlackBook” so the song can be distorted and pushed past the red, that’s when a song starts to kick you in the teeth, is when you push it. But shit, Brian Slagel and friends were kids like us making mistakes along with cool stuff.
How did you get in touch with Metal Blade anyways, and did you have a say in the choice of the contribution to the compilation? Don't you think a song like the speed-driven "Rockin' On Top"? would have fit in better there, moreover as that was the new trend in Metal..?
Jeff : Well first off we had heard that Metal Blade was accepting tapes for their 4th release and we knew that Metallica had been on the 1st release, so that gave Metal Blade some credibility in our eyes. We had just started to record our own original music and we thought it would be cool to get a tune on the album.
So there was this huge 3-day Woodstock type of music festival that was going to be held in San Bernadino, California that year. It was called the US Festival and was being put together by Steve Wozniak who was one of the guys who started Apple Computers. Each day had a different theme. The first was Country, the second was Heavy Metal, and the third was New Wave. When we heard about the Heavy Metal day line up we decided to go out there on holiday to check out the concert as well as the LA scene, which was exploding at the time. So Craig, myself, and the guys from War Cry all went together. We hooked up with some of the guys from Thrust as well, who had moved to LA and were trying to make it there. It was a wild time, it seemed like someone from every band was hanging around the Sunset Strip the night before the big gig. The line-up at the Heavy Metal day featured (in order of appearance) Quiet Riot, Motley Crue, Ozzy (w/Randy Rhodes), Judas Priest, Triumph, The Scorpions, and Van Halen (w/David Lee Roth). That was the gig where Van Halen got paid a million bucks to do the show and asked to have a bowl of M&M’s provided with the brown M&M’s removed.
So at some point we dropped in on Brian Slagel at the Metal Blade office (in the “valley”) and gave him a tape. Next thing you know Thrust, and War Cry were sending him tapes as well. Soon the whole Chicago theme idea came to light and Trouble and Zoetrope were also sending tapes. Craig and I paid a visit to Randy Rhodes mom’s music school while we were out there as well.
The Speed / Thrash Metal tune you are referring, “Rockin on Top” was really the only Speed Metal tune we ever wrote. Since it was the trend at the time we wanted to show that we could go in that direction yet chose not to. Craig and I always tried to be unique and carve our own style of Metal music and not follow what every one else was doing. Besides, why would you want to try and top bands like Metallica, Megadeath, Raven and Slayer?
Lastly Slagel kept the rights to any tunes he put on his compilations. So we decided that we would give him a song that would not bother us if we never used it again. So we gave him “I Don’t Wanna Die”. The song is about a guy who is caught witnessing a mob murder and is fleeing for his own life.
Craig : I remember hanging out with Brian in Woodland hills California. He had a small little office, but I think the thing that led us to release a song on his compilation, was that he-loved-Metal. Our attorney told us that all labels paid studio time, and that Metal Blade was, at that time, too small. We gave up a song against our attorney’s advice. Now look at Brian! The dude still rocks.
How come this contribution did not result in a recording-deal with Metal Blade? Coincidentally and most remarkably, this particular volume of the Metal Massacre series featured four!! More Chicago based outfits, Zoetrope, Thrust, Trouble and Znowhite, two of which released forthcoming vinyl on Metal Blade (Trouble, Thrust)..?
Jeff : Metal Massacre IV also had “War Cry” from Chicago as well. You know Metal Blade just never offered us anything good. There was this other guy “Johnny Z” who had a label called Megaforce Records. I think he had done some stuff with Metallica. Craig said Johnny Z had called and wanted to do a deal with us, then his company went under and he disappeared. He recently denied ever wanting to sign us. I think he took too many drugs back in the day and he has no memory left. Craig said that in LA he ran into an A&R rep from Elecktra records once and the guy had our Demo tape in his briefcase. He really loved our tape and said it he presented to the higher powers at Elecktra but they declined because they thought we were too heavy/evil. To this day I feel we should’ve just self produced an EP like Metallica did and then toured to promote it. Who knows were things could’ve gone.
Craig : Metal Blade offered us a full LP deal the same deal Trouble and other bands were offered, but the bands paid for all studio time. We didn’t have the money to do the production we felt we needed. We needed a label to pay our studio budget. The only thing Metal Blade offered us was distribution which later turned sour for Metal Blade. Back in the days of the 1980’s, good studio time was very expensive 200-400 dollars per hour and producers can cost thousands more. Of course we could have gone into a cheap studio and thrown something together but were very young musicians with little experience on engineering a debut LP.
Was there any inter-action with the aforementioned bands and did the simultaneous contribution bring about any competition?
Jeff : The metal scene in Chicago was very competitive. Bands were always watching and trying to one up each other. War Cry, Thrust & Witchslayer all came from the same part of town. We all went to the same High School. James Iha from the Smashing Pumpkins went to our rival High School. Trouble was from Aurora, IL and Znowhite and Zoetrope actually lived in the City. The rest of us lived out in the suburbs. When Rick Manson joined our band we shared a practice studio with Trouble. But for the most part we were all united and were friends trying to do the same thing in the same city. We all knew who was who and we all did shows together at one point or another. We did gigs with Trouble, Zoetrope and Thrust at different points.
Craig : Marty (from War Cry) and I were very good friends along with Pat Ryan and all the other guys. As far as competition, I think it only made us all try harder. I remember going over to some of the other bands practices just hanging out drinking and filling in on guitar.
How was the Chicago scene at that time, it seemed to be centered much around the Mainstream/Glam thing when it comes to the live/club-scene?
Jeff : I never felt comfortable being a rocker in Chicago. It was such a blue-collar town. It is home of the Blues not Heavy Metal. We were always treated like freaks because we had long hair. Most of the venues sucked and we always had a hard time finding rehearsal space. Plus the weather sucked which made it a depressing place to live. That’s probably why you hear a lot of Black Sabbath influences in the Chicago bands of that era. Chicago seemed to have an identity crisis and we always felt the bands that got attention were coming out of LA. We never felt like the industry gave us any respect. But yeah in the end the scene was flirting with the LA glam sound/look because bands like Motley Crue and Poison were hot and getting picked up by major labels.
Craig : The Chicago bands that did play out were mostly doing covers from these Mainstream/Glam acts. We had only original material in our set. The club owners only cared about their bar tabs. We didn’t really fit in with their plan. So it was hard to build a local audience.
The tracks outside of the demo appear to have the least Doom-flavored sound, referring to "Baneful Ruin" and "Rockin' On Top"; particularly the last mentioned; was this an indication for a possible, new musical direction, following the new Speed/Thrash trends?
Jeff : After the Demo tape was completed we were working with a professional sound engineer from a major recording studio in Chicago. He got us to start experimenting with our music. “Rockin on Top” was an attempt at speed metal. We had a tune called “Hang Em High” which had a western/cowboy flair to it. The other tunes like “Baneful Ruin”, “Vixen”, “Augery” & “The Salem Trials” pretty much represented the core Witchslayer sound. We always liked doom metal. Stuff that would just creep the shit out of people when they listened to it. A lot of our tunes tell stories about the Salem, Massachusetts Witch hunts of the 17th Century.
Craig : It’s funny how on the live tape Jeff’s vocals were muffled and everyone has different names for our songs. The original live tape had a song list, which goes to show you how the trading of tapes goes from person to person. I just wrote whatever worked for me at that time. Experimenting was what I loved to do, so I’m not sure I was looking for a speed metal song in particular.
Surprisingly, the Aurora set included all originals; did any live-set include covers at all?
Jeff : No the only time we did covers was when we first started out, once Dale, Sean, Craig and Myself got together we decided to play only Witchslayer music. You’ll never develop and grow as a band / artist until you take the plunge into your own song writing.
What happened after the Metal Massacre venture? There was talk of an LP release or at least an EP by the end of March '84?
Jeff : You know that’s a good question. We just never got it together. There were money issues as well as the fact that we were always way to critical about our music and talent and never felt like our material was good enough.
Craig : Rick was starting to give Jeff and I real problems. We had a show somewhere in downtown Chicago, and Rick decided, (the night before) to get in his car and just drive. He ended up in upstate Michigan, hundreds of miles away. But I convinced him, to pull himself out of his depression and return to Chicago. Baby sitting his depressed ass took a toll on us. Dale’s girlfriend was pulling the 'Yoko Ono thing' on us, which also drove us crazy. So along with all the shitty deals, baby sitting, money problems - we split up.
Then, some other publication mentioned the band would be recording their debut-LP in august '84, possibly on Mongol Horde as Rampage? Were there any recordings at that stage, and which tracks were planned for release on vinyl?
Jeff : Witchslayer was done by August of 84. I have never heard of Rampage.
Craig : I do remember something with Mongol Horde but I’m having a Jon Z moment, ahhh… can’t remember? No, I can’t remember what the deal was exactly. We never returned to the studio until today.
How come the band folded, and did any of its members continue in other groups or start new bands?
Jeff : Were burnt out from trying to make it. We had been struggling for years and were at a point where people around us were forcing us to make decisions about our lives. I guess we just buckled under all the pressure. In hind site we were just starting to mature and should’ve just released an album and gone on tour.
One time we were playing a gig on Halloween and Rick was wearing these shackles on his wrists. He got caught up in the moment and went to bang his head with his hand and accidentally split his head open and started bleeding right on stage. The crowd thought it was a prank and thought it was cool. We tried to stop the show and get him to go to the hospital but he would not leave the stage until we finished the set. By the end of the show he had lost a lot of blood and we rushed him to the hospital. That was an incident that marked the beginning of the end for us. The final straw came when Accept bumped us from opening their first ever show in Chicago.
Craig moved to LA and tried to make it on his own as a solo act. Rick tried to steal the Witchslayer name and use it for his own interests. Dale went to LA and tried to make it with some other band. Myself…I went to college and got a J-O-B…
Craig : The business of music can sometimes get the best of you. I know now that we were much closer to making it than we thought. I packed my bags and went to L.A. My Metal never fit in with L.A. and I needed too much work on my vocals for a solo thing.
Anything else you'd like to add?
Jeff : Just thanks for wanting to interview us. Keep Rockin and keep an eye out for a future Witchslayer release. Craig and I still have a little left in the tank…
Craig : If you are out there trying to make music that really matters, be persistent and hang in there…
Jeff : Metal Massacre IV also had “War Cry” from Chicago as well. You know Metal Blade just never offered us anything good. There was this other guy “Johnny Z” who had a label called Megaforce Records. I think he had done some stuff with Metallica. Craig said Johnny Z had called and wanted to do a deal with us, then his company went under and he disappeared. He recently denied ever wanting to sign us. I think he took too many drugs back in the day and he has no memory left. Craig said that in LA he ran into an A&R rep from Elecktra records once and the guy had our Demo tape in his briefcase. He really loved our tape and said it he presented to the higher powers at Elecktra but they declined because they thought we were too heavy/evil. To this day I feel we should’ve just self produced an EP like Metallica did and then toured to promote it. Who knows were things could’ve gone.
Craig : Metal Blade offered us a full LP deal the same deal Trouble and other bands were offered, but the bands paid for all studio time. We didn’t have the money to do the production we felt we needed. We needed a label to pay our studio budget. The only thing Metal Blade offered us was distribution which later turned sour for Metal Blade. Back in the days of the 1980’s, good studio time was very expensive 200-400 dollars per hour and producers can cost thousands more. Of course we could have gone into a cheap studio and thrown something together but were very young musicians with little experience on engineering a debut LP.
Was there any inter-action with the aforementioned bands and did the simultaneous contribution bring about any competition?
Jeff : The metal scene in Chicago was very competitive. Bands were always watching and trying to one up each other. War Cry, Thrust & Witchslayer all came from the same part of town. We all went to the same High School. James Iha from the Smashing Pumpkins went to our rival High School. Trouble was from Aurora, IL and Znowhite and Zoetrope actually lived in the City. The rest of us lived out in the suburbs. When Rick Manson joined our band we shared a practice studio with Trouble. But for the most part we were all united and were friends trying to do the same thing in the same city. We all knew who was who and we all did shows together at one point or another. We did gigs with Trouble, Zoetrope and Thrust at different points.
Craig : Marty (from War Cry) and I were very good friends along with Pat Ryan and all the other guys. As far as competition, I think it only made us all try harder. I remember going over to some of the other bands practices just hanging out drinking and filling in on guitar.
How was the Chicago scene at that time, it seemed to be centered much around the Mainstream/Glam thing when it comes to the live/club-scene?
Jeff : I never felt comfortable being a rocker in Chicago. It was such a blue-collar town. It is home of the Blues not Heavy Metal. We were always treated like freaks because we had long hair. Most of the venues sucked and we always had a hard time finding rehearsal space. Plus the weather sucked which made it a depressing place to live. That’s probably why you hear a lot of Black Sabbath influences in the Chicago bands of that era. Chicago seemed to have an identity crisis and we always felt the bands that got attention were coming out of LA. We never felt like the industry gave us any respect. But yeah in the end the scene was flirting with the LA glam sound/look because bands like Motley Crue and Poison were hot and getting picked up by major labels.
Craig : The Chicago bands that did play out were mostly doing covers from these Mainstream/Glam acts. We had only original material in our set. The club owners only cared about their bar tabs. We didn’t really fit in with their plan. So it was hard to build a local audience.
The tracks outside of the demo appear to have the least Doom-flavored sound, referring to "Baneful Ruin" and "Rockin' On Top"; particularly the last mentioned; was this an indication for a possible, new musical direction, following the new Speed/Thrash trends?
Jeff : After the Demo tape was completed we were working with a professional sound engineer from a major recording studio in Chicago. He got us to start experimenting with our music. “Rockin on Top” was an attempt at speed metal. We had a tune called “Hang Em High” which had a western/cowboy flair to it. The other tunes like “Baneful Ruin”, “Vixen”, “Augery” & “The Salem Trials” pretty much represented the core Witchslayer sound. We always liked doom metal. Stuff that would just creep the shit out of people when they listened to it. A lot of our tunes tell stories about the Salem, Massachusetts Witch hunts of the 17th Century.
Craig : It’s funny how on the live tape Jeff’s vocals were muffled and everyone has different names for our songs. The original live tape had a song list, which goes to show you how the trading of tapes goes from person to person. I just wrote whatever worked for me at that time. Experimenting was what I loved to do, so I’m not sure I was looking for a speed metal song in particular.
Surprisingly, the Aurora set included all originals; did any live-set include covers at all?
Jeff : No the only time we did covers was when we first started out, once Dale, Sean, Craig and Myself got together we decided to play only Witchslayer music. You’ll never develop and grow as a band / artist until you take the plunge into your own song writing.
What happened after the Metal Massacre venture? There was talk of an LP release or at least an EP by the end of March '84?
Jeff : You know that’s a good question. We just never got it together. There were money issues as well as the fact that we were always way to critical about our music and talent and never felt like our material was good enough.
Craig : Rick was starting to give Jeff and I real problems. We had a show somewhere in downtown Chicago, and Rick decided, (the night before) to get in his car and just drive. He ended up in upstate Michigan, hundreds of miles away. But I convinced him, to pull himself out of his depression and return to Chicago. Baby sitting his depressed ass took a toll on us. Dale’s girlfriend was pulling the 'Yoko Ono thing' on us, which also drove us crazy. So along with all the shitty deals, baby sitting, money problems - we split up.
Then, some other publication mentioned the band would be recording their debut-LP in august '84, possibly on Mongol Horde as Rampage? Were there any recordings at that stage, and which tracks were planned for release on vinyl?
Jeff : Witchslayer was done by August of 84. I have never heard of Rampage.
Craig : I do remember something with Mongol Horde but I’m having a Jon Z moment, ahhh… can’t remember? No, I can’t remember what the deal was exactly. We never returned to the studio until today.
How come the band folded, and did any of its members continue in other groups or start new bands?
Jeff : Were burnt out from trying to make it. We had been struggling for years and were at a point where people around us were forcing us to make decisions about our lives. I guess we just buckled under all the pressure. In hind site we were just starting to mature and should’ve just released an album and gone on tour.
One time we were playing a gig on Halloween and Rick was wearing these shackles on his wrists. He got caught up in the moment and went to bang his head with his hand and accidentally split his head open and started bleeding right on stage. The crowd thought it was a prank and thought it was cool. We tried to stop the show and get him to go to the hospital but he would not leave the stage until we finished the set. By the end of the show he had lost a lot of blood and we rushed him to the hospital. That was an incident that marked the beginning of the end for us. The final straw came when Accept bumped us from opening their first ever show in Chicago.
Craig moved to LA and tried to make it on his own as a solo act. Rick tried to steal the Witchslayer name and use it for his own interests. Dale went to LA and tried to make it with some other band. Myself…I went to college and got a J-O-B…
Craig : The business of music can sometimes get the best of you. I know now that we were much closer to making it than we thought. I packed my bags and went to L.A. My Metal never fit in with L.A. and I needed too much work on my vocals for a solo thing.
Anything else you'd like to add?
Jeff : Just thanks for wanting to interview us. Keep Rockin and keep an eye out for a future Witchslayer release. Craig and I still have a little left in the tank…
Craig : If you are out there trying to make music that really matters, be persistent and hang in there…