#07 - OCTOBER / NOVEMBER 2017
MANIC MOSH METAL magazine print version available via the Manic Mosh webshop.
for just £4 (UK) / £6.50 (Europe) / £7.50 (World)
including FREE airmail / 1st class postage
28 full colour pages with over 100 reviews, interviews, 80's Metal, label, distro and zine directory and hot rockin' Models. Thrash Metal, Power Metal, Stoner, Doom, NWOBHM, Heavy Metal, DeathMetal, BlackMetal, Progressive Metal...
for just £4 (UK) / £6.50 (Europe) / £7.50 (World)
including FREE airmail / 1st class postage
28 full colour pages with over 100 reviews, interviews, 80's Metal, label, distro and zine directory and hot rockin' Models. Thrash Metal, Power Metal, Stoner, Doom, NWOBHM, Heavy Metal, DeathMetal, BlackMetal, Progressive Metal...
|
|
DEMONIAC – 2017 “Intemperance”
label: Witches Brew
songs: The Unacceptable Truth / Intemperance / Cheating Destiny / Dimorphic Feelings / When Witchcraft And Cult Rises / Death Comes / Timeless Mind / Forging Our Sorrows //
web: https://demoniac.bandcamp.com/
Chilean act that initiated in 2011 with the aim to 'play fast, violent Thrash Metal'. Their latest outing, “Intemperance” testifies to this on all accounts, engaging some intense, mid 80's Thrash that tends towards towards DeathThrash. Think a mix of Kreator, Death Angel and Slayer, with the Slayer source being the most prominent. Demoniac's music rolls on hyper-speed WestCoast Thrash riffage, great mobility drummage and gruff, snappy styled vocalage. Throughout the set, the focal point is the guitar, funnelled through a full instrumental - “Cheating Destiny” -, an acoustic (outro) piece - “Timeless Mind” -, and long instrumental interludes to most of the songs. And then there's these balanced, melody guitar solos and speed chops a la Joey Tafallo (JagPanzer) and Vinne Moore, that are given plenty of room to shine on “When Witchcraft And Cult Rises”, including some light, neo-classical edged hooks. Material is in-depth and well timed, with a solid, instrumental co-ordination and shape shifting with a preferable alternation of snare-drummed modes and slower 'pause' passages. Strong!
Paul van der Burght
label: Witches Brew
songs: The Unacceptable Truth / Intemperance / Cheating Destiny / Dimorphic Feelings / When Witchcraft And Cult Rises / Death Comes / Timeless Mind / Forging Our Sorrows //
web: https://demoniac.bandcamp.com/
Chilean act that initiated in 2011 with the aim to 'play fast, violent Thrash Metal'. Their latest outing, “Intemperance” testifies to this on all accounts, engaging some intense, mid 80's Thrash that tends towards towards DeathThrash. Think a mix of Kreator, Death Angel and Slayer, with the Slayer source being the most prominent. Demoniac's music rolls on hyper-speed WestCoast Thrash riffage, great mobility drummage and gruff, snappy styled vocalage. Throughout the set, the focal point is the guitar, funnelled through a full instrumental - “Cheating Destiny” -, an acoustic (outro) piece - “Timeless Mind” -, and long instrumental interludes to most of the songs. And then there's these balanced, melody guitar solos and speed chops a la Joey Tafallo (JagPanzer) and Vinne Moore, that are given plenty of room to shine on “When Witchcraft And Cult Rises”, including some light, neo-classical edged hooks. Material is in-depth and well timed, with a solid, instrumental co-ordination and shape shifting with a preferable alternation of snare-drummed modes and slower 'pause' passages. Strong!
Paul van der Burght
ARGUS – 2017 “From Fields Of Fire”
label: Cruz Del Sur
songs: Into The Fields Of Fire (intro) / Devils Of Your Time / As A thousand Thieves / 216 / You Are The Curse / Infinite Lives, Infinite Dreams / Hour Of Longing / No Right To Grieve / From The Fields Of Fire /
web: https://argusmetal.bandcamp.com/ www.facebook.com/argusmetal
“From Fields Of Fire” holds a collection of U.S. PowerMetal songs, played in the late 80's / early 90's tradition. Most of the set rolls on propelling drives partnering double bass drums and staccato riffage, or at at least the first half of the album. From song #06 onwards, there's a change in concept, addressing to a more dramatic / emotive laden approach that is funnelled through the (Power) Metal balladry of “Infinite Lies, Infinite Dreams”, “No Right To Grieve” and the mid-section of “Hour Of Longing”. It is also here that the atmospheric element is increased and sounds of a more Metal nature are experienced, as witnessed on “Infinite Lives, Infinite Dreams”.On the other end of the spectrum are the galloping, Vicious Rumours flavoured PowerMetaler “As A Thousand Thieves”, and the seemingly Iron Maiden inspired “216” that comes complete with a similar rhythm section and twin melodies. The allround PowerMetal feel is given added value by the vocalage of Brian Balich, flexing some solid vocal muscle with good variables in appearance and tone, peaking in volume and 'roar' down “As A Thousand Tieves” and “216”. Strong.
Paul van der Burght
label: Cruz Del Sur
songs: Into The Fields Of Fire (intro) / Devils Of Your Time / As A thousand Thieves / 216 / You Are The Curse / Infinite Lives, Infinite Dreams / Hour Of Longing / No Right To Grieve / From The Fields Of Fire /
web: https://argusmetal.bandcamp.com/ www.facebook.com/argusmetal
“From Fields Of Fire” holds a collection of U.S. PowerMetal songs, played in the late 80's / early 90's tradition. Most of the set rolls on propelling drives partnering double bass drums and staccato riffage, or at at least the first half of the album. From song #06 onwards, there's a change in concept, addressing to a more dramatic / emotive laden approach that is funnelled through the (Power) Metal balladry of “Infinite Lies, Infinite Dreams”, “No Right To Grieve” and the mid-section of “Hour Of Longing”. It is also here that the atmospheric element is increased and sounds of a more Metal nature are experienced, as witnessed on “Infinite Lives, Infinite Dreams”.On the other end of the spectrum are the galloping, Vicious Rumours flavoured PowerMetaler “As A Thousand Thieves”, and the seemingly Iron Maiden inspired “216” that comes complete with a similar rhythm section and twin melodies. The allround PowerMetal feel is given added value by the vocalage of Brian Balich, flexing some solid vocal muscle with good variables in appearance and tone, peaking in volume and 'roar' down “As A Thousand Tieves” and “216”. Strong.
Paul van der Burght
POWER THEORY – MCD 2017 “Something Old..”
label: Pure Steel records
songs: Brace For Impact / Axe To Grind / Colossus / Dark Eagle (live) / The Truth Shall Set You Free (live) //
web: www.powertheory.net
Latest release by U.S outfit PowerTheory featuring a collection of new, re-recorded and live material. Musical wise, the palette features two 90's styled U.S. PowerMetalers (“Brace For Impact”, “Axe to Grind”) and three U.S. Metalers including the bobbing riffed,mid-tempo driven “Dark Eagle”, the catchy mid / up-tempo “The Truth Shall Set You Free”, and the twofold tempo “Colossus” that sparks certain similarities to Vicious Rumours; a comparison that comes resurfacing on the high-octane PowerMetaler “Brace For Impact”. Power Theory delivers on all fronts; sticky songs, cool guitar actions, and clear, muscular lead vocals in the mid / upper mid-range with a good, allround vibrato. This is one largely guitar / riff oriented U.S Metal / PowerMetal affair that comes fully loaded without overdoing it. Solid.
Paul van der Burght
label: Pure Steel records
songs: Brace For Impact / Axe To Grind / Colossus / Dark Eagle (live) / The Truth Shall Set You Free (live) //
web: www.powertheory.net
Latest release by U.S outfit PowerTheory featuring a collection of new, re-recorded and live material. Musical wise, the palette features two 90's styled U.S. PowerMetalers (“Brace For Impact”, “Axe to Grind”) and three U.S. Metalers including the bobbing riffed,mid-tempo driven “Dark Eagle”, the catchy mid / up-tempo “The Truth Shall Set You Free”, and the twofold tempo “Colossus” that sparks certain similarities to Vicious Rumours; a comparison that comes resurfacing on the high-octane PowerMetaler “Brace For Impact”. Power Theory delivers on all fronts; sticky songs, cool guitar actions, and clear, muscular lead vocals in the mid / upper mid-range with a good, allround vibrato. This is one largely guitar / riff oriented U.S Metal / PowerMetal affair that comes fully loaded without overdoing it. Solid.
Paul van der Burght
|
|
BEWITCHER – 2016 “Bewitcher”
label: Diabolic Might records
songs: Bewitcher / Speed 'til You Bleed / Sin In Her Bloood / Wild Blasphemy / Midnight Hunters / Harlots Of Hell / Hot Nights, Red Lights / Black Speed Delirium / In The Night (The Cult Will Rise) //
web: https://www.facebook.com/pg/BewitcherOfficial/
US three -piece engaging some retro-style Blackened SpeedMetal with a Punk / HardCoreMetal edge on their premier, full-length appearance, Picture a mix of Venom, Razor and Warfare over fast, 'bare knuckle' structures that are largely riff / guitar oriented, energetic and straight-forward type with the occasional 'pause' passage (“Wild Blasphemy”, “Midnight Hunters”, “In The Night”). Music has this pure, 'plug in and play' feel, and is dressed with gruff, raspy vocals and some cool, balanced HardRock / Metal style solos including twin melodies as found on the Warfare ish “Speed 'til You Bleed”. A nice twist in concept is brought in by the Metal rooted, HardRockin' SpeedMetaler “In The Night”. Cool
Paul van der Burght
label: Diabolic Might records
songs: Bewitcher / Speed 'til You Bleed / Sin In Her Bloood / Wild Blasphemy / Midnight Hunters / Harlots Of Hell / Hot Nights, Red Lights / Black Speed Delirium / In The Night (The Cult Will Rise) //
web: https://www.facebook.com/pg/BewitcherOfficial/
US three -piece engaging some retro-style Blackened SpeedMetal with a Punk / HardCoreMetal edge on their premier, full-length appearance, Picture a mix of Venom, Razor and Warfare over fast, 'bare knuckle' structures that are largely riff / guitar oriented, energetic and straight-forward type with the occasional 'pause' passage (“Wild Blasphemy”, “Midnight Hunters”, “In The Night”). Music has this pure, 'plug in and play' feel, and is dressed with gruff, raspy vocals and some cool, balanced HardRock / Metal style solos including twin melodies as found on the Warfare ish “Speed 'til You Bleed”. A nice twist in concept is brought in by the Metal rooted, HardRockin' SpeedMetaler “In The Night”. Cool
Paul van der Burght
FATAL STEP - EP 2017 “Procession Of Souls”
label: Private
songs: Procession Of Souls / The Witness //
web: https://fatalstep.bandcamp.com
Two-song EP by this Louisville / USA based act, gelling a whole palette of musical styles in variable song-structures that are largely riff / guitar oriented. This includes guitaristic solo interludes 'fillers', melodies and semi neo-classical virtuoso chops and harmonies that click with Joey Tafolla (Jag Panzer) and Vinnie Moore, as showcased on the 7+ minute “The Witness” that develops as a chunky, melodic laden Metal / PowerMetaler a la Dio's “Holy Diver” and furthers with a fusion of blast beats and regular toned vocals with a Progressive Nu undertone! Opening tune, the 6+ minute, “Procession Of Souls”, follows the same routine but goes straight into 80's PowerMetal / SpeedMetal modus, merging Agent Steel and Vicious Rumours, dressed with vocals that sound like a mix of a higher pitches Udo (Accept) and King Diamond (Mercyful Fate), with those regular toned Nu Metal vocals re-appearing, alongside those DeathTrash like vocal modes & programming in the chorus. Lots of double-bass drumming on this one, with added blast beats, and some tone-topping siren yells. There is a lot going on structural and musical wise on both occasions, and the conceptual diversity may require a few re-runs to get accustomed to, but even so, this thing gets better with every spin. “Procession Of Souls” is one clever, in-depth affair that is quite unusual, yet Fatal Step manages to make it work, backed with a solid, allround musicianship. Strong.
Paul van der Burght
label: Private
songs: Procession Of Souls / The Witness //
web: https://fatalstep.bandcamp.com
Two-song EP by this Louisville / USA based act, gelling a whole palette of musical styles in variable song-structures that are largely riff / guitar oriented. This includes guitaristic solo interludes 'fillers', melodies and semi neo-classical virtuoso chops and harmonies that click with Joey Tafolla (Jag Panzer) and Vinnie Moore, as showcased on the 7+ minute “The Witness” that develops as a chunky, melodic laden Metal / PowerMetaler a la Dio's “Holy Diver” and furthers with a fusion of blast beats and regular toned vocals with a Progressive Nu undertone! Opening tune, the 6+ minute, “Procession Of Souls”, follows the same routine but goes straight into 80's PowerMetal / SpeedMetal modus, merging Agent Steel and Vicious Rumours, dressed with vocals that sound like a mix of a higher pitches Udo (Accept) and King Diamond (Mercyful Fate), with those regular toned Nu Metal vocals re-appearing, alongside those DeathTrash like vocal modes & programming in the chorus. Lots of double-bass drumming on this one, with added blast beats, and some tone-topping siren yells. There is a lot going on structural and musical wise on both occasions, and the conceptual diversity may require a few re-runs to get accustomed to, but even so, this thing gets better with every spin. “Procession Of Souls” is one clever, in-depth affair that is quite unusual, yet Fatal Step manages to make it work, backed with a solid, allround musicianship. Strong.
Paul van der Burght
|
|
ARCKANUM – 2017 “Den Förstfödde”
label: Folter records
songs: Den Förstfödde / Nedom Etterböljorna / Likt Utgårds Himmel / Ofjättrad / Ginnmors Drott / Låt Fjalarr Gala / Du Grymme Smed / Kittelns Beska //
web: http://arckanum.bandcamp.com/
Swedish cult act Arckanum has been active since 1993 with a whole catalogue of releases. After a hiatus since the 2013 “Fenris Kindir” album, composer and multi-instrumentalist Shamaatae is back for one last time with a mix of Nordic Black Metal with touches upon the Drone thing. This comes with a good lot of instrumental oriented passages that are given value by slow and lowtoned distorted bass hooks, as evidenced on the dramatic laden “Nedom Etterböljorna”, the groovy Doom injected “Ofjättrad”, and the eerie sphered Drone piece “Ginnmors Drott” featuring wind effects, bass-guitar and violin. The all-out BlackMetal tracks such as “Likt Utgårds Himmel”, “Låt Fjalarr Gala” and “Kittelns Beska” sport all the key features such as blast beats, double-bass drummage and raspy, talk-type vocals, alongside a solid guitar crunch on the guitar / bass, the occasional groove element, and the coupling of fast and slower tempos. Quality.
Paul van der Burght
label: Folter records
songs: Den Förstfödde / Nedom Etterböljorna / Likt Utgårds Himmel / Ofjättrad / Ginnmors Drott / Låt Fjalarr Gala / Du Grymme Smed / Kittelns Beska //
web: http://arckanum.bandcamp.com/
Swedish cult act Arckanum has been active since 1993 with a whole catalogue of releases. After a hiatus since the 2013 “Fenris Kindir” album, composer and multi-instrumentalist Shamaatae is back for one last time with a mix of Nordic Black Metal with touches upon the Drone thing. This comes with a good lot of instrumental oriented passages that are given value by slow and lowtoned distorted bass hooks, as evidenced on the dramatic laden “Nedom Etterböljorna”, the groovy Doom injected “Ofjättrad”, and the eerie sphered Drone piece “Ginnmors Drott” featuring wind effects, bass-guitar and violin. The all-out BlackMetal tracks such as “Likt Utgårds Himmel”, “Låt Fjalarr Gala” and “Kittelns Beska” sport all the key features such as blast beats, double-bass drummage and raspy, talk-type vocals, alongside a solid guitar crunch on the guitar / bass, the occasional groove element, and the coupling of fast and slower tempos. Quality.
Paul van der Burght
CONTORSION – 2017 “U.Z.N”
label: http://www.nonstopmusic.ch/)
songs: The Plague Of Virtuality / United Zombie Nations / Gone Too Far / Human Killing Machine / Butchers Of Evil / This Lying Breed / Unconditional Hate / Isolation / End Of Days / Generation Doom / Inside The Blaze / This Blackened River //
web: http://www.contorsion.ch/
Third full-lenghter by this Swiss Thrash act that deliver quite a unique sound within its territories. The band does not opt for technicality or anything such, and their concept is like many others into the retro Bay Area thing; it is just the way Contorsion brings it. Instead of the 'standard' crisp guitar sound, one has implemented a deep guitar crunch that makes a good match with the deep vocal roar of Marc Torretti that is the focal point throughout. Music is straight forward and energetic with a bare knuckle appearance a la Wargasm, as evidenced on “Butchers of Evil”and the 'slow' paced and groovedup “Isolation” that additionally incorporates blends (powergrooves) of Pantera; a reference that also pops up down the equally slow paced 90's PowerThrasher “Human Killing Machine”. Throw in some fragments of Testament (“The Plague Of Virtuality”, “Gone Too Far”,”Unconditional Hate”) and the occasional hint of Kirk Hammett (Metallica) in the solo department, and that pretty much sums up “U.Z.N”. The set tends to sound a bit unanimous after a while, but that doesn't take away the fact that this is a more than decent ThrashMetal affair.
Paul van der Burght .
label: http://www.nonstopmusic.ch/)
songs: The Plague Of Virtuality / United Zombie Nations / Gone Too Far / Human Killing Machine / Butchers Of Evil / This Lying Breed / Unconditional Hate / Isolation / End Of Days / Generation Doom / Inside The Blaze / This Blackened River //
web: http://www.contorsion.ch/
Third full-lenghter by this Swiss Thrash act that deliver quite a unique sound within its territories. The band does not opt for technicality or anything such, and their concept is like many others into the retro Bay Area thing; it is just the way Contorsion brings it. Instead of the 'standard' crisp guitar sound, one has implemented a deep guitar crunch that makes a good match with the deep vocal roar of Marc Torretti that is the focal point throughout. Music is straight forward and energetic with a bare knuckle appearance a la Wargasm, as evidenced on “Butchers of Evil”and the 'slow' paced and groovedup “Isolation” that additionally incorporates blends (powergrooves) of Pantera; a reference that also pops up down the equally slow paced 90's PowerThrasher “Human Killing Machine”. Throw in some fragments of Testament (“The Plague Of Virtuality”, “Gone Too Far”,”Unconditional Hate”) and the occasional hint of Kirk Hammett (Metallica) in the solo department, and that pretty much sums up “U.Z.N”. The set tends to sound a bit unanimous after a while, but that doesn't take away the fact that this is a more than decent ThrashMetal affair.
Paul van der Burght .
DEMON EYES – 2017 re-issue '90 “Out Of Control”
label: No Remorse records
songs: Lady White Bride / Songs Of Death / Shy / Out Of Control / Let Me Go To The Party / Gotta Wait / Just For A Night / Dreams Never Lie // bonus tracks: Fantomas (French Version) / Empire Et Gloire (unreleased) / L'invincible Force De La Mort / Mal Divin / Les Deux Maudites / Ombre Du Malheur / Remords Posthumes (demo tracks) / Pestiferes (live) //
Back in the 80's, Demon Eyes made one of the better picks from the French Metal scene, although their flush of fame mainly dates back to their '83 demo tape and the '84 “Rites Of Chaos” debut-album. Like many other French Metal bands, Demon Eyes departed from their original concept and opted for a more Mainstream, American oriented sound already indicated on the band's second album, the '87 “Garde A Vue”. The '90 released “Out Of Control” furthered on this, and even jumped on the FunkMetal trend with its titletrack that appears both in English and French version. The commercial appeal is accented by the melodic HardRocker “Shy”, and the AOR / Mainstream minded “Gotta Wait” with its mellowed down chorus. In addition, there's a good few moments that relate to the 2nd wave of NWOBHM, referring to the Hellanbach alike Hard Rock'n'Roller “Let Me Go To The Party” and the upbeat “Just For A Night”. Less heavy than their original work, but equally melodic edged are the HardRock / Metal mixed “Lady White Bride” (that largely clicks with Witchcross), the driven upbeat “Songs Of Death” and the energetic “Dreams Never Lie” with some cool guitar flash. Key element throughout the “Out Of Control” set are the crisp, upper mid-range vocals and allround subtlety that makes the whole thing go really easy on the ear. Strong side of the band has always been their in-depth songwriting, and sense for melody and balance and that also dates back to their earliest work. As a bonus, this re-issue also holds all tracks from the '.... demo tape, and this is about the best the band ever did; pure and rough edged yet melodic, native tongue Metal that delivers on multiple accounts. The Trust – meets – Scorpions esque Metaler “L'invincible Force De La Mort” is a fine example of this, sporting all Metal riffage, multiple tempo and melody changes, a lot of guitar, and variable vocals that deliver both bite and melody. It is also here that the band relates to the classic Metal sound a la The Scorpions (“Mal Devin”) and Priest (“Ombre Du Malheur”), both of which are up-tempo / upbeat tracks with a riff-oriented approach and shades of the NWOBHM thing, a thing that comes resurfacing on the classic HardRock rooted, and melancholic edged “Remords Posthumes”. On the heavier side of the spectrum is the rough-edged upbeat Metaler “Les Deux Maudites” that sounds much in the vein of Trust with an Exciter (“World War III”) esque mid-section! This is one album worth investigating if only for the demo-tracks! The repertoire on display here gives a good inside look how this band changed, but still maintained their quality level, in both song-writing and musical performance. If only the band had stuck to their initial sound....
Paul van der Burght
label: No Remorse records
songs: Lady White Bride / Songs Of Death / Shy / Out Of Control / Let Me Go To The Party / Gotta Wait / Just For A Night / Dreams Never Lie // bonus tracks: Fantomas (French Version) / Empire Et Gloire (unreleased) / L'invincible Force De La Mort / Mal Divin / Les Deux Maudites / Ombre Du Malheur / Remords Posthumes (demo tracks) / Pestiferes (live) //
Back in the 80's, Demon Eyes made one of the better picks from the French Metal scene, although their flush of fame mainly dates back to their '83 demo tape and the '84 “Rites Of Chaos” debut-album. Like many other French Metal bands, Demon Eyes departed from their original concept and opted for a more Mainstream, American oriented sound already indicated on the band's second album, the '87 “Garde A Vue”. The '90 released “Out Of Control” furthered on this, and even jumped on the FunkMetal trend with its titletrack that appears both in English and French version. The commercial appeal is accented by the melodic HardRocker “Shy”, and the AOR / Mainstream minded “Gotta Wait” with its mellowed down chorus. In addition, there's a good few moments that relate to the 2nd wave of NWOBHM, referring to the Hellanbach alike Hard Rock'n'Roller “Let Me Go To The Party” and the upbeat “Just For A Night”. Less heavy than their original work, but equally melodic edged are the HardRock / Metal mixed “Lady White Bride” (that largely clicks with Witchcross), the driven upbeat “Songs Of Death” and the energetic “Dreams Never Lie” with some cool guitar flash. Key element throughout the “Out Of Control” set are the crisp, upper mid-range vocals and allround subtlety that makes the whole thing go really easy on the ear. Strong side of the band has always been their in-depth songwriting, and sense for melody and balance and that also dates back to their earliest work. As a bonus, this re-issue also holds all tracks from the '.... demo tape, and this is about the best the band ever did; pure and rough edged yet melodic, native tongue Metal that delivers on multiple accounts. The Trust – meets – Scorpions esque Metaler “L'invincible Force De La Mort” is a fine example of this, sporting all Metal riffage, multiple tempo and melody changes, a lot of guitar, and variable vocals that deliver both bite and melody. It is also here that the band relates to the classic Metal sound a la The Scorpions (“Mal Devin”) and Priest (“Ombre Du Malheur”), both of which are up-tempo / upbeat tracks with a riff-oriented approach and shades of the NWOBHM thing, a thing that comes resurfacing on the classic HardRock rooted, and melancholic edged “Remords Posthumes”. On the heavier side of the spectrum is the rough-edged upbeat Metaler “Les Deux Maudites” that sounds much in the vein of Trust with an Exciter (“World War III”) esque mid-section! This is one album worth investigating if only for the demo-tracks! The repertoire on display here gives a good inside look how this band changed, but still maintained their quality level, in both song-writing and musical performance. If only the band had stuck to their initial sound....
Paul van der Burght
|
|
SUNLESS SKY – 2017 “Doppelganger”
label: Pure Steel records
songs: Starfall / Doppelganger / Kingdom Of Sky / Stone Gods / Lake Of Lost Souls / Netherworld / Adrenaline Junkie / Inside The Monster / Heroin / Black Symphony //
web: www.sunlesssky.com
Follow-up to the 2014 “Firebreather” debut, by this Cleveland / Ohio based 4-piece, engaging some all out U.S PowerMetal with light Progressive hints. The style of Sunless Sky mainly sits in the late 80's / early 90's interpretation of the genre, and in essence sounds like a heavier mix of Odin, Stryper and Helstar, the latter which is most evident on the slow, dramatic laden “Kingdom Of Sky”, and the mid / up-tempo driven “Netherworld”. The Prgressive element is best captured on the propelling, double bass fuelled “Stone Gods”, and the technical edged “Inside The Monster”. Key elements throughout the disc are the vocals and the guitarwork, and there's plenty of that, nicely balancing melody and flash, with some blistering action showcased on “Kingdom Of Sky” and “Netherworld”. The click with Helstar is omnipresent in the vocal department as the tone and style of quality singer Juan Ricardo is similar to that of James Rivera, delivering an all-out PowerMetal voice that is crisp, upper-mid range, and accessorized with a whole palette of appearances; this goes from melodic-laden lead lines and snappy, talk-type modes to siren like yells, topping on the up-tempo titletrack; THE most 80's geared number on the disc, gelling hints of Overkill (“Taking Over” era) and Judas Priest. The heaviest moments come in the shape of the staccato / rhythm riffed “Skyfall” (tending towards melodic Thrash), and the accelerated mid-section of “Black Symphony”. Although the majority of songs on “Doppelganger” move in the mod / mid – tempo gear, there's a good diversity and shape-shifting going on within the songs and the concept as a whole. The package does work here but one additional fast number or some added double bassdrum action may have further lifted the second half the set. In all, “Doppelganger” is one proper U.S PowerMetal offering in the old-school tradition. Convincing
Paul van der Burght
label: Pure Steel records
songs: Starfall / Doppelganger / Kingdom Of Sky / Stone Gods / Lake Of Lost Souls / Netherworld / Adrenaline Junkie / Inside The Monster / Heroin / Black Symphony //
web: www.sunlesssky.com
Follow-up to the 2014 “Firebreather” debut, by this Cleveland / Ohio based 4-piece, engaging some all out U.S PowerMetal with light Progressive hints. The style of Sunless Sky mainly sits in the late 80's / early 90's interpretation of the genre, and in essence sounds like a heavier mix of Odin, Stryper and Helstar, the latter which is most evident on the slow, dramatic laden “Kingdom Of Sky”, and the mid / up-tempo driven “Netherworld”. The Prgressive element is best captured on the propelling, double bass fuelled “Stone Gods”, and the technical edged “Inside The Monster”. Key elements throughout the disc are the vocals and the guitarwork, and there's plenty of that, nicely balancing melody and flash, with some blistering action showcased on “Kingdom Of Sky” and “Netherworld”. The click with Helstar is omnipresent in the vocal department as the tone and style of quality singer Juan Ricardo is similar to that of James Rivera, delivering an all-out PowerMetal voice that is crisp, upper-mid range, and accessorized with a whole palette of appearances; this goes from melodic-laden lead lines and snappy, talk-type modes to siren like yells, topping on the up-tempo titletrack; THE most 80's geared number on the disc, gelling hints of Overkill (“Taking Over” era) and Judas Priest. The heaviest moments come in the shape of the staccato / rhythm riffed “Skyfall” (tending towards melodic Thrash), and the accelerated mid-section of “Black Symphony”. Although the majority of songs on “Doppelganger” move in the mod / mid – tempo gear, there's a good diversity and shape-shifting going on within the songs and the concept as a whole. The package does work here but one additional fast number or some added double bassdrum action may have further lifted the second half the set. In all, “Doppelganger” is one proper U.S PowerMetal offering in the old-school tradition. Convincing
Paul van der Burght
|
|
WITCHNIGHT – MCD 2016 “Unholy Speed Metal”
label: Witches Brew
songs: Witch's Night / Die By The Blade / Slut Of Hell / Planificando De La Muerte //
web: https://witchnight1.bandcamp.com/ http://www.facebook.com/Witchnight-527693727416336/
The sound and concept of Argentinian three-piece Witch'Night is firmly cemented in the mid 80's, sporting a brand of pure, straight forward, retro style Black / Thrash / SpeedMetal. The whole thing has this rehearsal / demo status approach and feel, and with a production that differs per song, and band members that go by names such as 'The Butcher' (vocals / bass), 'Axe Steeler' (guitars) and 'Ripping Corpse' (drums), things couldn't get more 80's minded. Even though the set mainly moves in a fast pace with snare drummed drives and speedy rhythm riffs feeding “Witch's Night” and “Die By The Blade” one has managed to give each song a different twist, respectively addressing to Destruction (“Witch's Night”) and Slayer (“Die By The Blade”).And then there's the chord-riffed HardCore PunkMetal of “Slut Of Hell” (before it accelerates to a very fast Thrasher with backing shouts), and the native-tongue voiced “Planificando De La Muerte” (Retrosatan cover) with its Metal / SpeedMetal backbone, coupling gruff, talk type vocals with falsetto shrieks to Metal type melodies, twin harmonies and Iron Maiden style rhythm section hooks. Nice touch throughout is the balanced, all Metal guitar flash of 'Axe Steeler' contrasting in a 'refreshing' way with regards to the harsh nature of the music. WitchNight sound like a young band, but one with serious potential. “Unholy Speed Metal” testifies to this on all accounts. Cool.
Paul van der Burght
STEEL SHOCK – 2017 "For Metal To Battle"
label: Alone records
songs: Shockwave Of Steel / Under The Sign / Metal Fire / Eyes Of Fire / Night Of Steel / Stand Tall / Break Down The Walls / Ready To Rock / Axe Of Hatred //
web: www.steelshock.com
Dutch Metalers doing some all out 80's Euro-Metal with shades of Manowar, Angus, Accept, Priest and Picture. On average, it is the Accept likeness that is most prominent, gauging the riffage, drive and guitar feedback / sound of the moderately paced Metalers “Eyes Of Fire”, “Stand Tall” and “Ready To Rock”. The “For Metal To Battle” album is a mere, moderately paced happening with 2 up-tempos (the Priest-ish “Night Of Steel”, and the Picture-esque “Axe Of Hatred”), plus this Dutch style semi Headbanger “Shockwave Of Steel”. Certain songs tend to be a bit lengthy for what they are, rolling on fairly linear structures and durations of 5 and 6+ minutes. Songs are all riff-based and centered around anthemic, all-Metal themes and shout along refrains, peaking on the Manowar-ish “Under The Sign”. Vocalage is mid-range with higher pitched falsetto shrieks, and another element that strongly relates to the Mausoleum records sort of bands from back in the early – mid 80's. OK
Paul van der Burght
label: Alone records
songs: Shockwave Of Steel / Under The Sign / Metal Fire / Eyes Of Fire / Night Of Steel / Stand Tall / Break Down The Walls / Ready To Rock / Axe Of Hatred //
web: www.steelshock.com
Dutch Metalers doing some all out 80's Euro-Metal with shades of Manowar, Angus, Accept, Priest and Picture. On average, it is the Accept likeness that is most prominent, gauging the riffage, drive and guitar feedback / sound of the moderately paced Metalers “Eyes Of Fire”, “Stand Tall” and “Ready To Rock”. The “For Metal To Battle” album is a mere, moderately paced happening with 2 up-tempos (the Priest-ish “Night Of Steel”, and the Picture-esque “Axe Of Hatred”), plus this Dutch style semi Headbanger “Shockwave Of Steel”. Certain songs tend to be a bit lengthy for what they are, rolling on fairly linear structures and durations of 5 and 6+ minutes. Songs are all riff-based and centered around anthemic, all-Metal themes and shout along refrains, peaking on the Manowar-ish “Under The Sign”. Vocalage is mid-range with higher pitched falsetto shrieks, and another element that strongly relates to the Mausoleum records sort of bands from back in the early – mid 80's. OK
Paul van der Burght
MORTA SKULD – 2017 “Wounds Deeper Than Time”
label: Peaceville records
songs: Breathe In The Black / Hating Life / My Weakness / Against The Origin / In Judgment / Wounds Deeper Than Time / Scars Within / Devour The Chaos / Become One Flesh //
web: https://www.facebook.com/MortaSkuld
Veteran Milwaukee Deathsters forking out some all-out 90's DeathMetal with the traditional Swedish DeathMetal sound high up there. This thing is largely riff-oriented, and shaped by gruff, talk type semi-grunts, buzzing 'chainsaw' guitars and lots of double-bassdrum action. The band works a lot with hyper speed double-bass drummage under slower, moderate tempos that dominate the set without limiting it to just that; there is a good lot of structural twists and turns within the songs, frequent accelerations, and 2 fast tracks; “In Judgment” and “Devour The Chaos”. There's only but a few blast beats down this album, but over against that is some great, rhythmic mobility drummage, as evidenced on “Become One Flesh”. The Swedish swing is pushed forward down “Devour The Chaos”, the technical edged and Thrashy riffed titletrack, plus the 'trademark' up / down & reversed riffage. In all, a convincing and entertaining DeathMetal album in the old-school tradition
Paul van der Burght
label: Peaceville records
songs: Breathe In The Black / Hating Life / My Weakness / Against The Origin / In Judgment / Wounds Deeper Than Time / Scars Within / Devour The Chaos / Become One Flesh //
web: https://www.facebook.com/MortaSkuld
Veteran Milwaukee Deathsters forking out some all-out 90's DeathMetal with the traditional Swedish DeathMetal sound high up there. This thing is largely riff-oriented, and shaped by gruff, talk type semi-grunts, buzzing 'chainsaw' guitars and lots of double-bassdrum action. The band works a lot with hyper speed double-bass drummage under slower, moderate tempos that dominate the set without limiting it to just that; there is a good lot of structural twists and turns within the songs, frequent accelerations, and 2 fast tracks; “In Judgment” and “Devour The Chaos”. There's only but a few blast beats down this album, but over against that is some great, rhythmic mobility drummage, as evidenced on “Become One Flesh”. The Swedish swing is pushed forward down “Devour The Chaos”, the technical edged and Thrashy riffed titletrack, plus the 'trademark' up / down & reversed riffage. In all, a convincing and entertaining DeathMetal album in the old-school tradition
Paul van der Burght
AIR RAID – 2017 “Across The Line”
label: High Roller records
songs: Hold The Flame / Line Of Danger / Aiming For The Sky / Cold As Ice / Entering The Zone Zero / Hell And Back / Northern Light / Raid Or Die / Black Dawn //
web: https://www.facebook.com/AirRaidOfficial
Latest workout by this 'New Wave Of Traditional Swedish Heavy Metal' act creating an all riff-oriented retro Metal sound that mainly moves in a mid to up-tempo. Faster moments on the disc are the melodic edged Euro Headbanger “Hold The Flame”, “Aiming For The Sky”, and the driven instrumental semi-headbanger “Entering The Zone Zero”, clicking with Malmsteen's “Rising Force”. It is also here that the Swedish Metal sound of old is most prominent with a 'trademark' sense for balance and melody. Material is equipped with some deserving guitar action, peaking in neo-classical edged Malmsteen modes on the late NWOBHM laced 80's Euro HardRock / Metaler “Line Of Danger”. Singer Frederik Werner has a voice that sounds like a slightly milder version of Blackie Lawless, producing a similar mid-tone 'roar' and 'stretched' way of singing. This triggers a likeness to WASP that is further pushed up in combination with WASP like vocal choirs and drives, as witnessed on “Hell And Back”, “Northern Light” and “Raid Or Die”. The band shows another, different approach on “Black Dawn”; a HardRock oriented number with matching riffage. Completely in accordance with the melodic nature of the music is this textbook, 'controlled' performance making “Across The Line” a 'clean' and neat listening affair. Nice
Paul van der Burght
label: High Roller records
songs: Hold The Flame / Line Of Danger / Aiming For The Sky / Cold As Ice / Entering The Zone Zero / Hell And Back / Northern Light / Raid Or Die / Black Dawn //
web: https://www.facebook.com/AirRaidOfficial
Latest workout by this 'New Wave Of Traditional Swedish Heavy Metal' act creating an all riff-oriented retro Metal sound that mainly moves in a mid to up-tempo. Faster moments on the disc are the melodic edged Euro Headbanger “Hold The Flame”, “Aiming For The Sky”, and the driven instrumental semi-headbanger “Entering The Zone Zero”, clicking with Malmsteen's “Rising Force”. It is also here that the Swedish Metal sound of old is most prominent with a 'trademark' sense for balance and melody. Material is equipped with some deserving guitar action, peaking in neo-classical edged Malmsteen modes on the late NWOBHM laced 80's Euro HardRock / Metaler “Line Of Danger”. Singer Frederik Werner has a voice that sounds like a slightly milder version of Blackie Lawless, producing a similar mid-tone 'roar' and 'stretched' way of singing. This triggers a likeness to WASP that is further pushed up in combination with WASP like vocal choirs and drives, as witnessed on “Hell And Back”, “Northern Light” and “Raid Or Die”. The band shows another, different approach on “Black Dawn”; a HardRock oriented number with matching riffage. Completely in accordance with the melodic nature of the music is this textbook, 'controlled' performance making “Across The Line” a 'clean' and neat listening affair. Nice
Paul van der Burght
CREJUVENT – EP 2017 “Time”
label: private
songs: Fuck This Shit / Code Orange / Malicious Clouds / Time / Word Vomit //
web: www.facebook.com/Crejuvent www.crejuvent.bandcamp.com
UK based one-man-band that first entered the scene in 2015 with the “Pretty Demos” 4-songer. Operating under the banner of 'Extreme Metal', multi-instrumentalist and programmer Freddy Federico Spera forged a contemporary mix of classic, 90's Tampa style DeathMetal, 90's Thrashcore, Progressive and Modern DeathMetal, plus the Industrial thing a la Fear Factory that reflects in various areas, including the set moods, riffage, programming and synths usage. On the vocal side of things, there's the Modern style Death growls, along with some Alice In Chains styled, minor toned choirs. There's a good sense for mobility down the set without a fixed theme or tempo, adding up to the Progressive nature of the music. Things get pretty intense as spotlighted on “Code Orange” that sounds like Speed Metal gone on a DeathMetal trip with Crossover bits, Progressive features, and this changeable, Fear Factory style drum-riff tandem. Freddy implements a lot of double-bass action over a preferable mid-tempo drive, triggering the 90's Tampa DeathMetal vibe, highlighted on the Progressive edged “Malicious Clouds” that is layered with Fear Factory styled synths. Overall, “Time” is one original, in-depth and rather experimental affair that is caked with pumping riffs and heavy guitars. The whole thing is further intensified by the powerhouse production that packs a lot of bottom-end boost but maintains to sound very natural. Strong.
Paul van der Burght
label: private
songs: Fuck This Shit / Code Orange / Malicious Clouds / Time / Word Vomit //
web: www.facebook.com/Crejuvent www.crejuvent.bandcamp.com
UK based one-man-band that first entered the scene in 2015 with the “Pretty Demos” 4-songer. Operating under the banner of 'Extreme Metal', multi-instrumentalist and programmer Freddy Federico Spera forged a contemporary mix of classic, 90's Tampa style DeathMetal, 90's Thrashcore, Progressive and Modern DeathMetal, plus the Industrial thing a la Fear Factory that reflects in various areas, including the set moods, riffage, programming and synths usage. On the vocal side of things, there's the Modern style Death growls, along with some Alice In Chains styled, minor toned choirs. There's a good sense for mobility down the set without a fixed theme or tempo, adding up to the Progressive nature of the music. Things get pretty intense as spotlighted on “Code Orange” that sounds like Speed Metal gone on a DeathMetal trip with Crossover bits, Progressive features, and this changeable, Fear Factory style drum-riff tandem. Freddy implements a lot of double-bass action over a preferable mid-tempo drive, triggering the 90's Tampa DeathMetal vibe, highlighted on the Progressive edged “Malicious Clouds” that is layered with Fear Factory styled synths. Overall, “Time” is one original, in-depth and rather experimental affair that is caked with pumping riffs and heavy guitars. The whole thing is further intensified by the powerhouse production that packs a lot of bottom-end boost but maintains to sound very natural. Strong.
Paul van der Burght
|
|
DESTRUCTOR – 2017 “Decibel Casualties”
label: Pure Steel records
songs: Restore Chaos / Keep The Faith / Metal Spike Deep / We Are Ready / The Last Days / Firey Winds / Metal Till Death / In Hell //
web: www.facebook.com/DestructorMetal
Ohio's prime PowerThrashers are back with yet another release, named after the band's '87 demo, but with all new songs. Destructor have always stayed true to their 80's roots, and “Decibel Casualties” is no different, furthering the concept of their monumental '85 “Maximum Destruction” LP. This album is even better, heavier and more genuine Destructor than their 2016 “Back In Bondage” predecessor, delivering a fine mix of mid 80's, U.S PowerMetal (“Keep The Faith”, “We Are Ready”, “Metal Till Death”) and fast, snare-drummed PowerThrash (“Restore Chaos”, “In Hell”). Somewhere in between those two and slightly more Metal minded are the rhythmic instrumental “Firey Winds” (with certain similarities to Anvil's “March Of The Crabs”) and the NWOBHM riffed, 2 tempo driven “Metal Spike Deep” There's some great, tight mobility drummage throughout the set, courtesy of Matt Flammable, power injecting the lot with plenty of double-bass drum action and snare-drummed beats. The vocalage of Dave Overkill has not lost any of its power, delivering that very same (raised) roar displayed on the debut! Add to this, some great guitarwork - peaking on “Keep The Faith”, “Metal Spike Deep” and “Metal Till Death” - and the result is one superb, traditional PowerThrash album that comes with all the trimmings. Recommended!
Paul van der Burght
label: Pure Steel records
songs: Restore Chaos / Keep The Faith / Metal Spike Deep / We Are Ready / The Last Days / Firey Winds / Metal Till Death / In Hell //
web: www.facebook.com/DestructorMetal
Ohio's prime PowerThrashers are back with yet another release, named after the band's '87 demo, but with all new songs. Destructor have always stayed true to their 80's roots, and “Decibel Casualties” is no different, furthering the concept of their monumental '85 “Maximum Destruction” LP. This album is even better, heavier and more genuine Destructor than their 2016 “Back In Bondage” predecessor, delivering a fine mix of mid 80's, U.S PowerMetal (“Keep The Faith”, “We Are Ready”, “Metal Till Death”) and fast, snare-drummed PowerThrash (“Restore Chaos”, “In Hell”). Somewhere in between those two and slightly more Metal minded are the rhythmic instrumental “Firey Winds” (with certain similarities to Anvil's “March Of The Crabs”) and the NWOBHM riffed, 2 tempo driven “Metal Spike Deep” There's some great, tight mobility drummage throughout the set, courtesy of Matt Flammable, power injecting the lot with plenty of double-bass drum action and snare-drummed beats. The vocalage of Dave Overkill has not lost any of its power, delivering that very same (raised) roar displayed on the debut! Add to this, some great guitarwork - peaking on “Keep The Faith”, “Metal Spike Deep” and “Metal Till Death” - and the result is one superb, traditional PowerThrash album that comes with all the trimmings. Recommended!
Paul van der Burght
BLACK EVIL – 2017 “The Ceremonial Fire”
label: Dying Victims
songs: Eshaton / Between Fire And Fire / Heavy Forces Marching On / Bethlehemian Blasphemies / Seven Brides – Seven Gates / The Ancient Sword / Black Magic Riders / Ritual Coven / Under The Black Sail Of The Burning Cross //
web: www.blackevil.net
Follow-up to the 2015 “Hail To The Cult” MLP, showcasing a brand of mid-80's Speed / Thrash with early style BlackMetal modes. Although the greater part of the music is fast paced and snare drummed, there's compensation in the usage of slower 'pause passages'. Structural wise, there's plenty of variations to the theme as well, both within songs individually and concept as a whole. There's the retro style and rhythm riffed Kreator / Destruction make Speedsters (“Between Fire And Fire”, “Heavy Forces Marching On”, “Black Magic Riders”). Then, there's more BlackMetal geared tracks such as the atmospheric edged “Bethlehemian Blasphemies”, the more intense, extreme drummed “The Ancient Sword” and the in-depth “Seven Brides – Seven Gates” that partners a bobbing, Metal esque intro a la Manowar's “Battle Hymn” with a BlackMetal – meets – Epic / Barbaric Metal like main theme. In addition, there's the Metal rooted, Kreator ish Speedster “Black Magic”, and the riff dominated “Under The Black Sail...” that starts off as a mid-tempo Metaler that climaxes into a melodic, Nordic Metaler. Another twist comes surfacing down another Kreator like speedster, “Ritual Coven” that is alternated with Metal passages. The whole set is given value by the Schmier (Destruction) hinted, gaspy shriek / scream vocals, thundering drums with Thrashy, snare drummed drives, and relatively 'clean' distorted guitars of the SpeedMetal sort. Songs mostly clock in around the 4 / 5+ minute mark with enough in there to keep the attention flow going, as evidenced on 7+ minute “Under The Black Sail.....”.In all, “The Ceremonial Fire” is one energetic and complete album that ticks all the boxes in retro Black / Thrash / SpeedMetal territories.
Paul van der Burght
label: Dying Victims
songs: Eshaton / Between Fire And Fire / Heavy Forces Marching On / Bethlehemian Blasphemies / Seven Brides – Seven Gates / The Ancient Sword / Black Magic Riders / Ritual Coven / Under The Black Sail Of The Burning Cross //
web: www.blackevil.net
Follow-up to the 2015 “Hail To The Cult” MLP, showcasing a brand of mid-80's Speed / Thrash with early style BlackMetal modes. Although the greater part of the music is fast paced and snare drummed, there's compensation in the usage of slower 'pause passages'. Structural wise, there's plenty of variations to the theme as well, both within songs individually and concept as a whole. There's the retro style and rhythm riffed Kreator / Destruction make Speedsters (“Between Fire And Fire”, “Heavy Forces Marching On”, “Black Magic Riders”). Then, there's more BlackMetal geared tracks such as the atmospheric edged “Bethlehemian Blasphemies”, the more intense, extreme drummed “The Ancient Sword” and the in-depth “Seven Brides – Seven Gates” that partners a bobbing, Metal esque intro a la Manowar's “Battle Hymn” with a BlackMetal – meets – Epic / Barbaric Metal like main theme. In addition, there's the Metal rooted, Kreator ish Speedster “Black Magic”, and the riff dominated “Under The Black Sail...” that starts off as a mid-tempo Metaler that climaxes into a melodic, Nordic Metaler. Another twist comes surfacing down another Kreator like speedster, “Ritual Coven” that is alternated with Metal passages. The whole set is given value by the Schmier (Destruction) hinted, gaspy shriek / scream vocals, thundering drums with Thrashy, snare drummed drives, and relatively 'clean' distorted guitars of the SpeedMetal sort. Songs mostly clock in around the 4 / 5+ minute mark with enough in there to keep the attention flow going, as evidenced on 7+ minute “Under The Black Sail.....”.In all, “The Ceremonial Fire” is one energetic and complete album that ticks all the boxes in retro Black / Thrash / SpeedMetal territories.
Paul van der Burght
DEVIL – 2017 "To The Gallows"
label: Soulseller Records
songs: To The Gallows / Trenches / Dead Body Arise / Regulators / Reaper's Shadow / Peasants & Pitchforks / Jumping Off The Edge Of Time / David & Goliath / Cemetary Still //
web: https://www.facebook.com/Devilband
Third full-length album by this Norwegian act that is said to collect the sounds of Pentagram, Sabbath, Witchfinder General and the early NWOBHM thing. Devil truly do live up to the 80's, and there is hints of NWOBHM but overall, “To The Gallows” sounds more like a Punk-ish HardRock/Metal happening with elements of ShockRock and Horror Rock. This is funnelled through the guitar sound, bar-riffs and downstrokes, as well as the shout along Punk refrains that are partnered with gruff, talk-type vocals that occasionally click with the James Hetfield (Metallica) sort of vocalage, as evidenced on “Trenches” and “Regulators”. Minus the chants, it is the rhythmic “Dead Body Arise” that sports a significant 70's Doom – meets – NWOBHM amalgam a la Angelwitch. The concept as a whole is largely riff / guitar oriented and given this unpolished, raw appearance that sounds much like a 'plug in and play' recording that rolls on straight forward programming with the rhythmic drummage as the most versatile factor in the instrumental department. OK
Paul van der Burght
label: Soulseller Records
songs: To The Gallows / Trenches / Dead Body Arise / Regulators / Reaper's Shadow / Peasants & Pitchforks / Jumping Off The Edge Of Time / David & Goliath / Cemetary Still //
web: https://www.facebook.com/Devilband
Third full-length album by this Norwegian act that is said to collect the sounds of Pentagram, Sabbath, Witchfinder General and the early NWOBHM thing. Devil truly do live up to the 80's, and there is hints of NWOBHM but overall, “To The Gallows” sounds more like a Punk-ish HardRock/Metal happening with elements of ShockRock and Horror Rock. This is funnelled through the guitar sound, bar-riffs and downstrokes, as well as the shout along Punk refrains that are partnered with gruff, talk-type vocals that occasionally click with the James Hetfield (Metallica) sort of vocalage, as evidenced on “Trenches” and “Regulators”. Minus the chants, it is the rhythmic “Dead Body Arise” that sports a significant 70's Doom – meets – NWOBHM amalgam a la Angelwitch. The concept as a whole is largely riff / guitar oriented and given this unpolished, raw appearance that sounds much like a 'plug in and play' recording that rolls on straight forward programming with the rhythmic drummage as the most versatile factor in the instrumental department. OK
Paul van der Burght
ECLIPSE – 2017 “Monumentum”
label: Frontiers records
songs: Vertigo / Never Look Back / Killing Me / The Downfall Of Eden / Hurt / Jaded / Born To Lead / For Better Or For Worse / No Way Back / Night Comes Crawling / Black Rain//
web: www.eclipsemania.com www.facebook.com/EclipseSweden
Swedish HardRockers Eclipse are back at it again with another, most convincing and entertaining melange of melodic laden, 90's HardRock, A.O.R and Mainstream Rock with a strong US Radio Rock appeal without sounding mellow. This is 'secured' by the vocalage, the 'bite' of the guitars and the allround guitar / riff oriented nature of the music. Greater part of the set is mid-paced and groove injected with synchronized synths / guitar usage, gripping themes and a strong feel-good factor, that is high up on the toe-tapping , Dokken ish “Vertigo”, the driven up-tempo “Jaded”, and the Gary Moore style, Irish Folk infused “The Downfall Of Eden”. Heaviest moments on the disc are the '87 Whitesnake flavoured “Born To Lead”, the downstroke & staccato riffed “No Way Back”, and the more atmospheric laden, Bad English meets Winger like “Black Rain”. Balladry is presented with “Hurt”, highlighting the vocal abilities of Erik Martensson delivering a warm, upper mid-range voice that goes easy on the ear, but equally cranks up to a muscular crisp and tone on the greater part of the album. The second half of the album holds a considerably heavier approach with more hints of Bad English and Whitesnake popping up. Another key element throughout the album is the guitar flash of Magnus Henriksson peaking on “Killing Me”, “Black Rain” and “For Better..” Monumentum” is a monumental album in its territories, entertaining song after song, and packed with a solid, all round musicianship, sticky themes and a tip-top production. Excellent!
Paul van der Burght
label: Frontiers records
songs: Vertigo / Never Look Back / Killing Me / The Downfall Of Eden / Hurt / Jaded / Born To Lead / For Better Or For Worse / No Way Back / Night Comes Crawling / Black Rain//
web: www.eclipsemania.com www.facebook.com/EclipseSweden
Swedish HardRockers Eclipse are back at it again with another, most convincing and entertaining melange of melodic laden, 90's HardRock, A.O.R and Mainstream Rock with a strong US Radio Rock appeal without sounding mellow. This is 'secured' by the vocalage, the 'bite' of the guitars and the allround guitar / riff oriented nature of the music. Greater part of the set is mid-paced and groove injected with synchronized synths / guitar usage, gripping themes and a strong feel-good factor, that is high up on the toe-tapping , Dokken ish “Vertigo”, the driven up-tempo “Jaded”, and the Gary Moore style, Irish Folk infused “The Downfall Of Eden”. Heaviest moments on the disc are the '87 Whitesnake flavoured “Born To Lead”, the downstroke & staccato riffed “No Way Back”, and the more atmospheric laden, Bad English meets Winger like “Black Rain”. Balladry is presented with “Hurt”, highlighting the vocal abilities of Erik Martensson delivering a warm, upper mid-range voice that goes easy on the ear, but equally cranks up to a muscular crisp and tone on the greater part of the album. The second half of the album holds a considerably heavier approach with more hints of Bad English and Whitesnake popping up. Another key element throughout the album is the guitar flash of Magnus Henriksson peaking on “Killing Me”, “Black Rain” and “For Better..” Monumentum” is a monumental album in its territories, entertaining song after song, and packed with a solid, all round musicianship, sticky themes and a tip-top production. Excellent!
Paul van der Burght
EXTERMINATOR – 2017 re-issue '87 “Total Extermination”
label: Greyhaze records
songs: The End / Nightmare / Exterminator / Marchando Para A Morte / Voyage To Hell / SpeedMetal / March Of The Exterminator / Pro Inferno Vou Te Levar / Fighting Against The Church / Fighting Against The Sky Angels //
web: https://greyhazerecords.bandcamp.com
Brazilian Cult act Exterminator are considered one of the purveyors of the extreme Metal scene in South America. Their '87 “Total Extermination” LP is a document in its territories and sounds as primitive as it could possibly get. This goes completely in accordance with the genre, sporting a bare-basic format of GrindCore fused BlackMetal that is shaped by a tin 'basement' production, trebly guitars and the absence of bottom end boost. Songs all move in a fast, snare drum / blast beat modus and are dressed with dry, growling talk-type vocals that come in both English and native tongue, minus the straight-forward instrumental that is “March Of The Exterminator”. Strictly for fans
Paul van der Burght
label: Greyhaze records
songs: The End / Nightmare / Exterminator / Marchando Para A Morte / Voyage To Hell / SpeedMetal / March Of The Exterminator / Pro Inferno Vou Te Levar / Fighting Against The Church / Fighting Against The Sky Angels //
web: https://greyhazerecords.bandcamp.com
Brazilian Cult act Exterminator are considered one of the purveyors of the extreme Metal scene in South America. Their '87 “Total Extermination” LP is a document in its territories and sounds as primitive as it could possibly get. This goes completely in accordance with the genre, sporting a bare-basic format of GrindCore fused BlackMetal that is shaped by a tin 'basement' production, trebly guitars and the absence of bottom end boost. Songs all move in a fast, snare drum / blast beat modus and are dressed with dry, growling talk-type vocals that come in both English and native tongue, minus the straight-forward instrumental that is “March Of The Exterminator”. Strictly for fans
Paul van der Burght
IRON GYPSY – 2017 re-issue '84 / '88
label: No Remorse records
songs: Hell And Back / For the Crown / Need Your Lovin' / Streetwize / Now Or Never / Shaker / T.A.W. / Rock 'N' Roll Band //Obscure Canadian act from the 80's that released 2 self-financed micro-press EP's that have now been re-released on both CD and vinyl format by No Remorse records. First there's the 4 songs from the selftitled '84 EP showcasing a mix of bare knuckle, all out 80's PowerMetal (“Hell And Back”), HardRock / Metal down The Rods flavoured “For The Crown”, NWOBHM rooted Metal / Mainstream HardRock a la Van Halen / Hellanbach (“Need Your Lovin') and Bluesy rooted HardRock with a Funk-ish ending. Whatever the interpretation, it is the guitar that dominates the whole deal with a monster crunch and bite down the Headbanger that is “Hell And Back”. The tempo varies from moderately fast, (“Hell And Back”, “Need Your Lovin”) to moderately / mid-paced and up-tempo, laying the basis for the rough, mid-range vocals, and the tasty, free-style guitar action. The material down the '88 “Take #02” EP is pretty similar to the debut EP, with the heaviest song - the crunched up moderately paced Metaler - “Now Or Never” opening the second set of 4, followed by the driven, upbeat HardRock / Metaler “Shaker”, the Van Halen esque semi-Headbanger “T.A.W”, and the standard, American style Bluesy Hard Rock 'n' Roller “Rock 'n' Roll Band”. Gauging both releases, Iron Gypsy move in a multitude of musical directions, with some convincing and really hard hitting stuff against largely contrasting and pedestrian workouts. If only this band would have focused on the heavier side of things as that is where the true strength lies. This coupling of the band's work shows what a lot of U.S / Canadian bands used to sound like in the early 80's; Iron Gypsy just did a few years later.
Paul van der Burght
label: No Remorse records
songs: Hell And Back / For the Crown / Need Your Lovin' / Streetwize / Now Or Never / Shaker / T.A.W. / Rock 'N' Roll Band //Obscure Canadian act from the 80's that released 2 self-financed micro-press EP's that have now been re-released on both CD and vinyl format by No Remorse records. First there's the 4 songs from the selftitled '84 EP showcasing a mix of bare knuckle, all out 80's PowerMetal (“Hell And Back”), HardRock / Metal down The Rods flavoured “For The Crown”, NWOBHM rooted Metal / Mainstream HardRock a la Van Halen / Hellanbach (“Need Your Lovin') and Bluesy rooted HardRock with a Funk-ish ending. Whatever the interpretation, it is the guitar that dominates the whole deal with a monster crunch and bite down the Headbanger that is “Hell And Back”. The tempo varies from moderately fast, (“Hell And Back”, “Need Your Lovin”) to moderately / mid-paced and up-tempo, laying the basis for the rough, mid-range vocals, and the tasty, free-style guitar action. The material down the '88 “Take #02” EP is pretty similar to the debut EP, with the heaviest song - the crunched up moderately paced Metaler - “Now Or Never” opening the second set of 4, followed by the driven, upbeat HardRock / Metaler “Shaker”, the Van Halen esque semi-Headbanger “T.A.W”, and the standard, American style Bluesy Hard Rock 'n' Roller “Rock 'n' Roll Band”. Gauging both releases, Iron Gypsy move in a multitude of musical directions, with some convincing and really hard hitting stuff against largely contrasting and pedestrian workouts. If only this band would have focused on the heavier side of things as that is where the true strength lies. This coupling of the band's work shows what a lot of U.S / Canadian bands used to sound like in the early 80's; Iron Gypsy just did a few years later.
Paul van der Burght
|
|
HEXX – 2017 “Wrath Of The Reaper”
label: High Roller records
songs: Macabre Procession Of Specters / Screaming Sacrifice / Slave In Hell / Swimming The Witch / Dark Void Of Evil / Unraveled / Voices / Exhumed For The Reaping / Circle The Drain / Wrath Of The Reaper / Certificate Of Death (CD bonus track)
web: https://www.facebook.com/pg/officialhexx
Cult Metalers Hexx are back at it, addressing to the sound of old with a twist. “Wrath Of The Reaper” basically is a mish mash of late 80's and early 90's Power and SpeedMetal; mostly in combination but also individually as PowerMetal numbers referring to the moderately paced outings “Swimming The Witch” and the pounder “Unraveled”, plus the moderately fast paced “Screaming Sacrifice”. More Metal minded fragments are the Metal Church esque “Macabre Processions Of Specters” and the driven, mid-paced “Slave In Hell”. And then there's this HardRock / Metal root feeding the mystical edged PowerMetaler “Dark Void Of Evil” and the 1st half of “Certificate Of Death”. Songs cover a broad spectrum of tempos although the greater part of the set moves in a moderate / mid-tempo with some four speedsters to compensate. Whole thing is largely riff / guitar oriented with a good lot of gripping mobility riffs and some cool duelling action on “Dark Void Of Evil” and “Exhumed For The Reaping”. The vocals of Eddy have this snarling upper mid-range roar that - in combination with the 'muffled' production and concept as a whole – draws certain similarities to Metal Church “The Dark” era. This album delivers the old-school way with a good, allround impact and sticky themes. Solid.
Paul van der Burght
label: High Roller records
songs: Macabre Procession Of Specters / Screaming Sacrifice / Slave In Hell / Swimming The Witch / Dark Void Of Evil / Unraveled / Voices / Exhumed For The Reaping / Circle The Drain / Wrath Of The Reaper / Certificate Of Death (CD bonus track)
web: https://www.facebook.com/pg/officialhexx
Cult Metalers Hexx are back at it, addressing to the sound of old with a twist. “Wrath Of The Reaper” basically is a mish mash of late 80's and early 90's Power and SpeedMetal; mostly in combination but also individually as PowerMetal numbers referring to the moderately paced outings “Swimming The Witch” and the pounder “Unraveled”, plus the moderately fast paced “Screaming Sacrifice”. More Metal minded fragments are the Metal Church esque “Macabre Processions Of Specters” and the driven, mid-paced “Slave In Hell”. And then there's this HardRock / Metal root feeding the mystical edged PowerMetaler “Dark Void Of Evil” and the 1st half of “Certificate Of Death”. Songs cover a broad spectrum of tempos although the greater part of the set moves in a moderate / mid-tempo with some four speedsters to compensate. Whole thing is largely riff / guitar oriented with a good lot of gripping mobility riffs and some cool duelling action on “Dark Void Of Evil” and “Exhumed For The Reaping”. The vocals of Eddy have this snarling upper mid-range roar that - in combination with the 'muffled' production and concept as a whole – draws certain similarities to Metal Church “The Dark” era. This album delivers the old-school way with a good, allround impact and sticky themes. Solid.
Paul van der Burght
|
|
MORPHOSYS – 2017 “The Saw Is family”
label: Witches Brew
songs: Carniwar / The Saw Is Family / Torture Chamber / The Walking Dead / Storm Of Blood / Memory Of The Insane / Fleischeslust / You Shall Bleed / Todesengel / Corpse Grinder //
web: http://www.facebook.com/pages/Morphosys/187885337916671
German act that couples the traditional Dutch and Swedish DeathMetal sound from the 90's to the Thrash element in the riff department. Gauging the material, one could say that, in essence, Morphosys are a heavy sounding Thrash band with those classic, deep, gurgling grunts that tip it over to the DeathMetal thing. About half of the set moves in a fast, snare-drummed tempo with blast beats only applied twice throughout. The other half basically combines slower, moderately paced drives with accelerations. The whole deal is largely riff / guitar oriented, triggering some bobbing riff modes on the moderately paced pounder “Memory Of The Insane”, and the twofold tempo “The Saw Is Family”. Morphosys has slipped in some additional twists and turns, including some Fear Factory styled riff hooks, HardCore Thrashing Death and native tongue lyrics on “Fleisheslust” and “Todesengel”, plus some early U.S DeathMetal in the Slayer / Possessed vein down “Corpse Grinder”. For some reason, Morphosys sound much like a studio-only band / project taking on a concept (“Texas Chainsaw Massacre”), but whatever it is, genuine or not, it sure makes for one instant access, enjoyable DeathMetal affair shaped by a wall of guitars, sticky themes, and a solid, power-punch production. Cool.
Paul van der Burght
label: Witches Brew
songs: Carniwar / The Saw Is Family / Torture Chamber / The Walking Dead / Storm Of Blood / Memory Of The Insane / Fleischeslust / You Shall Bleed / Todesengel / Corpse Grinder //
web: http://www.facebook.com/pages/Morphosys/187885337916671
German act that couples the traditional Dutch and Swedish DeathMetal sound from the 90's to the Thrash element in the riff department. Gauging the material, one could say that, in essence, Morphosys are a heavy sounding Thrash band with those classic, deep, gurgling grunts that tip it over to the DeathMetal thing. About half of the set moves in a fast, snare-drummed tempo with blast beats only applied twice throughout. The other half basically combines slower, moderately paced drives with accelerations. The whole deal is largely riff / guitar oriented, triggering some bobbing riff modes on the moderately paced pounder “Memory Of The Insane”, and the twofold tempo “The Saw Is Family”. Morphosys has slipped in some additional twists and turns, including some Fear Factory styled riff hooks, HardCore Thrashing Death and native tongue lyrics on “Fleisheslust” and “Todesengel”, plus some early U.S DeathMetal in the Slayer / Possessed vein down “Corpse Grinder”. For some reason, Morphosys sound much like a studio-only band / project taking on a concept (“Texas Chainsaw Massacre”), but whatever it is, genuine or not, it sure makes for one instant access, enjoyable DeathMetal affair shaped by a wall of guitars, sticky themes, and a solid, power-punch production. Cool.
Paul van der Burght
|
Liv Sin photo by:Post-Mortem.se
|
LIV SIN – 2017 “Follow Me”
label: Despotz records
songs: The Fall / Hypocrite / Let Me Out / Black Souls / Godless Utopia / Endless Roads / Killing Ourselves To Live / I’m Your Sin / Emperor Of Chaos / Immortal Sin / The Beast Inside //
web: http://www.liv-sin.com/
Premier album by female shouter Liv Sin with her new band, following the split of previous act Sister Sin that clocked a 13 year career. As such, there is no guessing about the musical experience that runs through this album that displays a good sense for detail, proportion and differentiation. Merging the sounds of HardRock, PowerMetal, classic and modern Metal, “Follow Me” offers a whole scala of songs and settings within the moderate / mid-tempo range and infused with a light melodic undertone. The album opens with the Priest infused, U.S. style PowerMetal pounder “The Fall”, and follows up the PowerMetal element where it leans towards Thrash on the razor-edge, rhythm riffed “Hypocrite”, and the bobbing “I'm Your Sin” with the muscular vocal roar of Liv Sin adding the extra bite. The diversity continues with the seemingly Accept inspired Metalers “Emperor Of Chaos”, “Killing Ourselves To Live” and “Let me Out”; the latter which partners modern Metal with 80's German HardRock / Metal that comes complete with the 'trademark' anthemic main theme. This may well be the result of the co-production from the hands of Stefan Kaufmann (Accept / Udo) and Fitty Wienhold (UDO) sporting that significant Accept guitar grind on “Emperor Of Chaos”. The modern Metal thing pretty much runs underneath the whole of the set whilst still retaining that traditional feel, as on the mod / mid-paced Metalers “Godless Utopia” and the more dramatic, melodic laden “Endless Roads” both of which show certain similarities to Breaker, and the 3rd Wild Dogs album in both approach, sound and vocalage! A bit of an odd-one in is the 90's Alternative melancholy Rocker “Immortal Sin” with its thick, downtoned riffage and male, Sisters Of Mercy like vocalage to join up with Liv's lead lines. The vocal talent of Liv is evident in the heavier territories but also delivers 'clean' down the dramatic balladry of “The Beast Inside” before it develops into a more Mainstream edged, modern Metaler with mild Gothic like synths backing. In all, “Follow Me” is one entertaining affair with a good lot of conceptual twists, a clear, power-punch production and those ripping vocals of Liv.
Paul van der Burght
label: Despotz records
songs: The Fall / Hypocrite / Let Me Out / Black Souls / Godless Utopia / Endless Roads / Killing Ourselves To Live / I’m Your Sin / Emperor Of Chaos / Immortal Sin / The Beast Inside //
web: http://www.liv-sin.com/
Premier album by female shouter Liv Sin with her new band, following the split of previous act Sister Sin that clocked a 13 year career. As such, there is no guessing about the musical experience that runs through this album that displays a good sense for detail, proportion and differentiation. Merging the sounds of HardRock, PowerMetal, classic and modern Metal, “Follow Me” offers a whole scala of songs and settings within the moderate / mid-tempo range and infused with a light melodic undertone. The album opens with the Priest infused, U.S. style PowerMetal pounder “The Fall”, and follows up the PowerMetal element where it leans towards Thrash on the razor-edge, rhythm riffed “Hypocrite”, and the bobbing “I'm Your Sin” with the muscular vocal roar of Liv Sin adding the extra bite. The diversity continues with the seemingly Accept inspired Metalers “Emperor Of Chaos”, “Killing Ourselves To Live” and “Let me Out”; the latter which partners modern Metal with 80's German HardRock / Metal that comes complete with the 'trademark' anthemic main theme. This may well be the result of the co-production from the hands of Stefan Kaufmann (Accept / Udo) and Fitty Wienhold (UDO) sporting that significant Accept guitar grind on “Emperor Of Chaos”. The modern Metal thing pretty much runs underneath the whole of the set whilst still retaining that traditional feel, as on the mod / mid-paced Metalers “Godless Utopia” and the more dramatic, melodic laden “Endless Roads” both of which show certain similarities to Breaker, and the 3rd Wild Dogs album in both approach, sound and vocalage! A bit of an odd-one in is the 90's Alternative melancholy Rocker “Immortal Sin” with its thick, downtoned riffage and male, Sisters Of Mercy like vocalage to join up with Liv's lead lines. The vocal talent of Liv is evident in the heavier territories but also delivers 'clean' down the dramatic balladry of “The Beast Inside” before it develops into a more Mainstream edged, modern Metaler with mild Gothic like synths backing. In all, “Follow Me” is one entertaining affair with a good lot of conceptual twists, a clear, power-punch production and those ripping vocals of Liv.
Paul van der Burght
EPITAPH – 2017 “Claws”
label: High Roller records https://www.hrrecords.de
songs: Gossamer Claws / Waco The King / Sizigia / Wicked Lady / Declaration Of Woe //
web: https://www.facebook.com/epitaph.doom
Classic Doomsters from the 80's that are back in form with a modified line-up and a first 'real' comeback album after re-entering the scene with a compilation sort of release, “Crawling Out Of The Crypt”, in 2014. Epitaph holds hight the Italian Doom tradition with a good lot of twists and turns in both concept and songs individually. The riff monster “Gossamer Claws” is a fine example of this, hosting a selection of riffs; from lethargic Doom over a slow tempo to groove-injected Doom hooks over a driven upbeat tempo. In addition, the riff-package is doubled / dubbed, giving the music this chunky appearance. Some Progressive modes are partnered with 'trademark' Sabbath riffage,non-distorted leads and semi-acoustics on “Waco The King” before resuming its slow-motion Doom drive. More of the Progressive thing comes resurfacing on another, Sabbath layered variety riffster, “Declaration Of Woe”. The atmospheric element is given added value by the variable, (upper) mid-range vocalage of Emiliano Cioffi, mostly operating in a narrative, theatrical mode, drawing similarities to Hell down “Gossamer Claws”. In all, this is one great, retro-styled Doom album that is largely guitar / riff oriented and grooved up,but equally implements the cold, slow-motion Doom element peaking on the Sabbath (“Black Sabbath”) mould “Wicked Lady”. Solid!
Paul van der Burght
label: High Roller records https://www.hrrecords.de
songs: Gossamer Claws / Waco The King / Sizigia / Wicked Lady / Declaration Of Woe //
web: https://www.facebook.com/epitaph.doom
Classic Doomsters from the 80's that are back in form with a modified line-up and a first 'real' comeback album after re-entering the scene with a compilation sort of release, “Crawling Out Of The Crypt”, in 2014. Epitaph holds hight the Italian Doom tradition with a good lot of twists and turns in both concept and songs individually. The riff monster “Gossamer Claws” is a fine example of this, hosting a selection of riffs; from lethargic Doom over a slow tempo to groove-injected Doom hooks over a driven upbeat tempo. In addition, the riff-package is doubled / dubbed, giving the music this chunky appearance. Some Progressive modes are partnered with 'trademark' Sabbath riffage,non-distorted leads and semi-acoustics on “Waco The King” before resuming its slow-motion Doom drive. More of the Progressive thing comes resurfacing on another, Sabbath layered variety riffster, “Declaration Of Woe”. The atmospheric element is given added value by the variable, (upper) mid-range vocalage of Emiliano Cioffi, mostly operating in a narrative, theatrical mode, drawing similarities to Hell down “Gossamer Claws”. In all, this is one great, retro-styled Doom album that is largely guitar / riff oriented and grooved up,but equally implements the cold, slow-motion Doom element peaking on the Sabbath (“Black Sabbath”) mould “Wicked Lady”. Solid!
Paul van der Burght
SPEED LIMIT – 2017 “Anywhere We Dare”
label: Pure Rock records
songs: Anywhere We Dare / Sober Truth / Sweet Morphine / No More Ace To Play / Step Out Of The Line / Sign Of The Times / Good Year For Bad Habits / Retired Hero / Bridges / Dealing With Danger / Affinity Of Souls //
web: www.speedlimitweb.com/
“Anywhere We Dare” by veteran HardRockers Speed Limit is like spinning a selection of 80's records. The diversity flow is high up in concept, individual songs and musical direction. The greater part of the material phases rather heavy A.O.R with 80's melodic HardRock / Metal. Things tip over to a more A.O.R flavoured approach on the Tyketto ish “Anywhere We Dare”, the catchy mid-paced “Sober Truth”, and the up-tempo driven “Retired Hero”. Other bands Speed Limit connects with style wise include TT Quick (the heavily riffed slow burner “No More Ace To Play”) and Saxon on the catchy slow-fast Headbanger “Sweet Morphine” and the pondering, double-bass fuelled Metaler “Good Year For Bad Habits”. The variety continues with a heavy ballad (“Sign Of The Times”), and a semi-acoustic guitar / vocal piece (“Affinity Of Souls”). Some clean cut, melodic Metal is presented with “Step Out Of The Line”; a driven mid-tempo number with a strong riff and a nifty, Richie Blackmore twist on the guitar solo. There's some tasty guitarwork running through the entire set, and the vocalage of Manuel Brettl is another asset to the musical performance, delivering a great powerhouse voice that is both melodic and rough edged with a strong vibrato and up-tone siren yells. “Anywhere We Dare” is one enjoyable album with a proper sense for balance, structure and variety. Nice.
Paul van der Burght
label: Pure Rock records
songs: Anywhere We Dare / Sober Truth / Sweet Morphine / No More Ace To Play / Step Out Of The Line / Sign Of The Times / Good Year For Bad Habits / Retired Hero / Bridges / Dealing With Danger / Affinity Of Souls //
web: www.speedlimitweb.com/
“Anywhere We Dare” by veteran HardRockers Speed Limit is like spinning a selection of 80's records. The diversity flow is high up in concept, individual songs and musical direction. The greater part of the material phases rather heavy A.O.R with 80's melodic HardRock / Metal. Things tip over to a more A.O.R flavoured approach on the Tyketto ish “Anywhere We Dare”, the catchy mid-paced “Sober Truth”, and the up-tempo driven “Retired Hero”. Other bands Speed Limit connects with style wise include TT Quick (the heavily riffed slow burner “No More Ace To Play”) and Saxon on the catchy slow-fast Headbanger “Sweet Morphine” and the pondering, double-bass fuelled Metaler “Good Year For Bad Habits”. The variety continues with a heavy ballad (“Sign Of The Times”), and a semi-acoustic guitar / vocal piece (“Affinity Of Souls”). Some clean cut, melodic Metal is presented with “Step Out Of The Line”; a driven mid-tempo number with a strong riff and a nifty, Richie Blackmore twist on the guitar solo. There's some tasty guitarwork running through the entire set, and the vocalage of Manuel Brettl is another asset to the musical performance, delivering a great powerhouse voice that is both melodic and rough edged with a strong vibrato and up-tone siren yells. “Anywhere We Dare” is one enjoyable album with a proper sense for balance, structure and variety. Nice.
Paul van der Burght
BURIED REALM – 2017 “The Ichor Carnicoma”
label: private
songs: Portal / The Ichor Carnicoma / Asphyxiation's Lullaby / Through These Darkened Halls / Apeiron I – The Legacy / On Serpent Soil / Apeiron II – Global Dreamer / Unscrupulous / Hidden Chapter / Superspell //
web: https://www.facebook.com/buriedrealm/
This debut, stickered as 'Technical Melodic DeathMetal” is the product of Colorado (USA) based Josh Dummer, laying down all music, vocals and lyrics for this 10-songer with a host of guest musicians. “The Ichor Carnicoma” is one intelligent, well synchronized and highly diversified affair that rolls on in-depth programming, Thrash toned guitars (and patterns), lots of hyper double-bass drummage, and triple-style vocals that vary from gurgling DeathMetal grunts and a raspy BlackMetal voice to 'clean', modern Metal styled lead lines that are applied on “Asphyxiation's Lullaby” and “Apeiron I”. True highlight and focal point throughout is the virtuoso guitar action that covers a whole spectrum of styles and appearances; from agile mobility riffs and dazzling chops, to catchy Thrash hooks and more balanced, groove-laden solos as witnessed on the title-track. In additon, there's a guitaristic melody intro (“Portal”), a speric workout (“Hidden Chapter”), and a full instrumental (“On Serpent Soil”), partnering shred with melody chops over a Thrashy backing. There is a lot going on down this album, both structural and concept-wise, gelling Technical DeathMetal with Thrashy guitars, PowerMetal melodies, Industrial twists / synthesizer, 90's Powergrooves and those multi-styled vocals. “The Ichor Carnicoma” is anything but ordinary and maybe a bit much in terms of concept and shape shifting but fact remains that this is a thing well taken care of in every respect. Solid.
Paul van der Burght
label: private
songs: Portal / The Ichor Carnicoma / Asphyxiation's Lullaby / Through These Darkened Halls / Apeiron I – The Legacy / On Serpent Soil / Apeiron II – Global Dreamer / Unscrupulous / Hidden Chapter / Superspell //
web: https://www.facebook.com/buriedrealm/
This debut, stickered as 'Technical Melodic DeathMetal” is the product of Colorado (USA) based Josh Dummer, laying down all music, vocals and lyrics for this 10-songer with a host of guest musicians. “The Ichor Carnicoma” is one intelligent, well synchronized and highly diversified affair that rolls on in-depth programming, Thrash toned guitars (and patterns), lots of hyper double-bass drummage, and triple-style vocals that vary from gurgling DeathMetal grunts and a raspy BlackMetal voice to 'clean', modern Metal styled lead lines that are applied on “Asphyxiation's Lullaby” and “Apeiron I”. True highlight and focal point throughout is the virtuoso guitar action that covers a whole spectrum of styles and appearances; from agile mobility riffs and dazzling chops, to catchy Thrash hooks and more balanced, groove-laden solos as witnessed on the title-track. In additon, there's a guitaristic melody intro (“Portal”), a speric workout (“Hidden Chapter”), and a full instrumental (“On Serpent Soil”), partnering shred with melody chops over a Thrashy backing. There is a lot going on down this album, both structural and concept-wise, gelling Technical DeathMetal with Thrashy guitars, PowerMetal melodies, Industrial twists / synthesizer, 90's Powergrooves and those multi-styled vocals. “The Ichor Carnicoma” is anything but ordinary and maybe a bit much in terms of concept and shape shifting but fact remains that this is a thing well taken care of in every respect. Solid.
Paul van der Burght
|
|
VULTURE – 2017 “The Guillotine”
label: High Roller records http://www.hrrecords.de
songs: Vendetta / Clashing Iron / Triumph Of The Guillotine / Electric Ecstasy / Adrian's Cradle / This Night Belongs To The Dead / Paraphiliac / Cry For Death //
web: http://www.facebook.com/vulturekills
“The Guillotine” by German Speedsters Vulture presents a convincing palette of all 80's Speed / ThrashMetal that mainly collects the sounds of Exodus and Onslaught with shades of Slayer, early Dark Angel, and Iron Maiden. In essence, “The Guillotine” replicates the concept and appearance of two classics in the genre; Exodus' “Bonded By Blood”, and Onslaught's “The Force”. The vocalage of 'L.Steeler' is pretty much identical to that of Paul Baloff (Exodus), adding the aggression and 'bite' to the music with this snappy, raw voice that comes with identical shrieks, but additionally features a good lot of 'clean' siren yells. Songs are driven by fast, snare drummed beats and staccato rhythm riffs Bay Area style, that come complete with an identical Exodus guitar feedback and tone, as spotlighted on “Adrian's Cradle”; a catchy SpeedMetaler with prominent Maiden hooks. A nice twist to the concept is the occasional, melodic edge in the guitar department, funelled through the solo actions and twin harmonies. One of the prime assets of Vulture is the great, mobility drummage by 'S.Genozider' that comes with some cool mobility hooks. Great!
Paul van der Burght
label: High Roller records http://www.hrrecords.de
songs: Vendetta / Clashing Iron / Triumph Of The Guillotine / Electric Ecstasy / Adrian's Cradle / This Night Belongs To The Dead / Paraphiliac / Cry For Death //
web: http://www.facebook.com/vulturekills
“The Guillotine” by German Speedsters Vulture presents a convincing palette of all 80's Speed / ThrashMetal that mainly collects the sounds of Exodus and Onslaught with shades of Slayer, early Dark Angel, and Iron Maiden. In essence, “The Guillotine” replicates the concept and appearance of two classics in the genre; Exodus' “Bonded By Blood”, and Onslaught's “The Force”. The vocalage of 'L.Steeler' is pretty much identical to that of Paul Baloff (Exodus), adding the aggression and 'bite' to the music with this snappy, raw voice that comes with identical shrieks, but additionally features a good lot of 'clean' siren yells. Songs are driven by fast, snare drummed beats and staccato rhythm riffs Bay Area style, that come complete with an identical Exodus guitar feedback and tone, as spotlighted on “Adrian's Cradle”; a catchy SpeedMetaler with prominent Maiden hooks. A nice twist to the concept is the occasional, melodic edge in the guitar department, funelled through the solo actions and twin harmonies. One of the prime assets of Vulture is the great, mobility drummage by 'S.Genozider' that comes with some cool mobility hooks. Great!
Paul van der Burght
|
|
FROM NORTH – 2017 “From North”
label: Downfall records
songs: Volund The Smith / He Who Hates / Last Appeal / Ships Tale / Mead Or Poetry / Sworn Brotherhood / The Sacred Oath / Ormr Inn Langi / The Catch / The Longest Wait / From North //
web: https://www.facebook.com/fromnorthsweden/
Debut appearance by this Swedish Viking Metal act that fuel their concept with synths generated, medieval instruments without overdoing it on the Folk element or anthemic choirs. There's times, things get rather heavy, almost Thrash like in the riff-department referring to the mid-paced, Fear Factory – meets – Folk like “Volund The Smith” with a similar, growling vocal application, and the PowerMetal / Folk fused “He Who Hates”; the album's heaviest picks. Over against that are some Nordic balladry (“Last Appeal”) and the non distorted, acoustic driven 'bonfire Folker' “The Sacred Oath”. Traces of Katatonia and Opeth (with non growling, melancholic laden vocals) come surfacing down the more atmospheric, dramatic laden workouts such as “Ships Tale”, “Sworn Brotherhood”, “The Longest Wait”, and the Goth-edged “Ormr Inn Langi” whilst Viking Metal goes in full on the bobbing fist pumpers “Mead Or Poetry” and “From North”. There is the standard violin, flute and acoustic guitars throughout, but mostly it is the use of some sort of bagpipe-ish sounding synths key notes that accent the ancient vibes here. Quite a nice cohesion with sticky themes and a good, allround delivery.
Paul van der Burght
label: Downfall records
songs: Volund The Smith / He Who Hates / Last Appeal / Ships Tale / Mead Or Poetry / Sworn Brotherhood / The Sacred Oath / Ormr Inn Langi / The Catch / The Longest Wait / From North //
web: https://www.facebook.com/fromnorthsweden/
Debut appearance by this Swedish Viking Metal act that fuel their concept with synths generated, medieval instruments without overdoing it on the Folk element or anthemic choirs. There's times, things get rather heavy, almost Thrash like in the riff-department referring to the mid-paced, Fear Factory – meets – Folk like “Volund The Smith” with a similar, growling vocal application, and the PowerMetal / Folk fused “He Who Hates”; the album's heaviest picks. Over against that are some Nordic balladry (“Last Appeal”) and the non distorted, acoustic driven 'bonfire Folker' “The Sacred Oath”. Traces of Katatonia and Opeth (with non growling, melancholic laden vocals) come surfacing down the more atmospheric, dramatic laden workouts such as “Ships Tale”, “Sworn Brotherhood”, “The Longest Wait”, and the Goth-edged “Ormr Inn Langi” whilst Viking Metal goes in full on the bobbing fist pumpers “Mead Or Poetry” and “From North”. There is the standard violin, flute and acoustic guitars throughout, but mostly it is the use of some sort of bagpipe-ish sounding synths key notes that accent the ancient vibes here. Quite a nice cohesion with sticky themes and a good, allround delivery.
Paul van der Burght
LADY BEAST – 2017 “Vicious Breed”
label: Cruz Del Sur
songs: Seal The Hex / The Way / Lone Hunter / Always With Me / Get Out / Every Giant Shall Fall / Sky Graves / Vicious Breed //
web: https://www.facebook.com/ladybeastofficial
Fourth outlet by this Pittsburg / USA based, female fronted act furthering their old-school Metal oriented concept that sounds as if it came straight out of the early 80's. Lady Beast goes into Speed modus on most of the album; either in Euro-Headbanger style, Euro sourced U.S SpeedMetal (as on the Bitch esque “Get Out” and “Vicious Breed”) or all out, mid-80's U.S SpeedMetal fashion, referring to the Vicous Rumours meets Agent Steel like “Seal The Hex”. Music is largely riff oriented and layered with twin melodies that bring in this NWOBHM feel that, pushed forward on the chunky, HardRock rooted mid-paced “Lone Hunter” (before it accelerates into a semi-Headbanger), and the rhythmic, Maiden flavoured “Always With Me”. Although Lady Beast is all retro Metal minded, there's shades of the modern Metal thing down “Seal The Hex” and “Every Giant Shall Fall” be it in limited proportions. The mid-range vocalage of Deborah Levine suits the music in every style and comes dressed with a mild vibrato, rough edges and more dramatic laden modes. “Vicous Breed” is one fine selection of songs that delivers both speed and alternate tempos in a good measure with sticky themes, easy access and a high entertainment value. Solid.
Paul van der Burght
label: Cruz Del Sur
songs: Seal The Hex / The Way / Lone Hunter / Always With Me / Get Out / Every Giant Shall Fall / Sky Graves / Vicious Breed //
web: https://www.facebook.com/ladybeastofficial
Fourth outlet by this Pittsburg / USA based, female fronted act furthering their old-school Metal oriented concept that sounds as if it came straight out of the early 80's. Lady Beast goes into Speed modus on most of the album; either in Euro-Headbanger style, Euro sourced U.S SpeedMetal (as on the Bitch esque “Get Out” and “Vicious Breed”) or all out, mid-80's U.S SpeedMetal fashion, referring to the Vicous Rumours meets Agent Steel like “Seal The Hex”. Music is largely riff oriented and layered with twin melodies that bring in this NWOBHM feel that, pushed forward on the chunky, HardRock rooted mid-paced “Lone Hunter” (before it accelerates into a semi-Headbanger), and the rhythmic, Maiden flavoured “Always With Me”. Although Lady Beast is all retro Metal minded, there's shades of the modern Metal thing down “Seal The Hex” and “Every Giant Shall Fall” be it in limited proportions. The mid-range vocalage of Deborah Levine suits the music in every style and comes dressed with a mild vibrato, rough edges and more dramatic laden modes. “Vicous Breed” is one fine selection of songs that delivers both speed and alternate tempos in a good measure with sticky themes, easy access and a high entertainment value. Solid.
Paul van der Burght
PERISHED – 2017 re-issue '98 “Kark”
label: ATMF records http://www.atmf.net
songs: Introduksjon / Imens Vi Venter... / Stier Til Visdoms Krefter / På Nattens Vintervinger / Iskalde Strømmer / ...Og Spjuta Fauk / Befri De Trolske Toner / Renheten Og Gjenkomsten / bonus tracks: A Landscape Of Flames (unreleased) / Kald Som Aldri Før (E.P) / Gjennom Skjærende Lys (E.P) //
Re-issue of the '98 debut album (Solistitium records) by Norwegian cult act Perished. The sound showcased here dates back to the mid-90's when the atmospheric thing got commonly incorporated in Black / DeathMetal. “Kark” is all that, merging slower, Doom laden passages and atmospheric moods with Nordic BlackMetal features including raspy talk-vocals, dramatic riffage, and blast beats. There is also the occasional Folk features popping up down “Befri De Trolske Toner” and light Industrial notes on “På Nattens Vintervinger”. BlackMetal goes in full Nordic style on “Lanscape Of Flames” and comes with a groove factor on the slow-fast “Renheten Og Gjenkomsten” with its Celtic Frost type twists in both the vocal and riff department. The repertoire of Perished goes through a whole scheme of tempos and interpretations with subtle synths usage and melodic moments opposite more extreme key features. There is a lot going on structural wise, and there's never a dull moment to fill even the longest of song durations clocking in at 9+ minutes. Convincing.
Paul van der Burght
specs: limited luxury CD digipack edition with extra tracks + LP edition with 7” single
label: ATMF records http://www.atmf.net
songs: Introduksjon / Imens Vi Venter... / Stier Til Visdoms Krefter / På Nattens Vintervinger / Iskalde Strømmer / ...Og Spjuta Fauk / Befri De Trolske Toner / Renheten Og Gjenkomsten / bonus tracks: A Landscape Of Flames (unreleased) / Kald Som Aldri Før (E.P) / Gjennom Skjærende Lys (E.P) //
Re-issue of the '98 debut album (Solistitium records) by Norwegian cult act Perished. The sound showcased here dates back to the mid-90's when the atmospheric thing got commonly incorporated in Black / DeathMetal. “Kark” is all that, merging slower, Doom laden passages and atmospheric moods with Nordic BlackMetal features including raspy talk-vocals, dramatic riffage, and blast beats. There is also the occasional Folk features popping up down “Befri De Trolske Toner” and light Industrial notes on “På Nattens Vintervinger”. BlackMetal goes in full Nordic style on “Lanscape Of Flames” and comes with a groove factor on the slow-fast “Renheten Og Gjenkomsten” with its Celtic Frost type twists in both the vocal and riff department. The repertoire of Perished goes through a whole scheme of tempos and interpretations with subtle synths usage and melodic moments opposite more extreme key features. There is a lot going on structural wise, and there's never a dull moment to fill even the longest of song durations clocking in at 9+ minutes. Convincing.
Paul van der Burght
specs: limited luxury CD digipack edition with extra tracks + LP edition with 7” single
|
|
FORGED IN BLACK – EP 2017 “Sinner Sanctorum”
label: private
songs: There's Always Time / Pay The Price / Sinner Sanctorum / Crimson Echoes /
web: https://www.facebook.com/forgedinblacks
UK outfit Forged In Black engage some 90's inspired U.S PowerMetal that is dramatic-laden and Progressive edged with a tendency towards Thrash on “Pay The Price”, and the multi-paced “Sinner Sanctorum”, referring to its heavy staccato riffage and off application of backing shouts. Opening tune “There's Always Time” has the atmospheric thing high up whilst “Crimson Echoes” shows a more in-depth approach, being the most Progressive minded number, and a showcase for the guitar talents of Chris Bone and Andy Songhurst. A bit of an oddity is the passage where the vocals hit 'growl' modus, having no substance in the nature of the song. In its 'natural' appearance, the vocalage of Chris 'Stoz' Storozynski has enough of a reach and variety to suit the music in true PowerMetal fashion, delivering a strong voice that couples the likes of Bruce Dickinson (Maiden), Rob Halford (Priest) and Joe Comeau (Liege Lord), peppered with a good vibrato, narrative like atmospheric twists and variety in pitch, topping the reach some siren-like yells on “Pay The Price”. Completely in accordance with the genre. The whole deal is well played and proportioned, maybe a little on the safe side of things, but never too technical. Neat.
Paul van der Burght
label: private
songs: There's Always Time / Pay The Price / Sinner Sanctorum / Crimson Echoes /
web: https://www.facebook.com/forgedinblacks
UK outfit Forged In Black engage some 90's inspired U.S PowerMetal that is dramatic-laden and Progressive edged with a tendency towards Thrash on “Pay The Price”, and the multi-paced “Sinner Sanctorum”, referring to its heavy staccato riffage and off application of backing shouts. Opening tune “There's Always Time” has the atmospheric thing high up whilst “Crimson Echoes” shows a more in-depth approach, being the most Progressive minded number, and a showcase for the guitar talents of Chris Bone and Andy Songhurst. A bit of an oddity is the passage where the vocals hit 'growl' modus, having no substance in the nature of the song. In its 'natural' appearance, the vocalage of Chris 'Stoz' Storozynski has enough of a reach and variety to suit the music in true PowerMetal fashion, delivering a strong voice that couples the likes of Bruce Dickinson (Maiden), Rob Halford (Priest) and Joe Comeau (Liege Lord), peppered with a good vibrato, narrative like atmospheric twists and variety in pitch, topping the reach some siren-like yells on “Pay The Price”. Completely in accordance with the genre. The whole deal is well played and proportioned, maybe a little on the safe side of things, but never too technical. Neat.
Paul van der Burght
LEIDER – 2017 “Alloys”
label: private
songs: We Are Masters / Flesh / Phoenix / Insanity / Dust From Hell / Boo / High Flying Bird / Blood Heroes //
web: https://www.facebook.com/LeiderMetal
Third full-lengther by Mexican Metalers Leider, gelling a mix of Pantera, Megadeth and Alter Bridge, sauced with anthemic, Euro-PowerMetal refrains and thumping, 90's Powergroove riffage. The riff-monster that is “We Are Masters” captures all this over a grinding, double-bass drummed mod / mid-tempo drive. The band pretty much sticks to the slower segment of tempos to accommodate the bobbing riff-based grooves that fuel most of the material on this 8 songer. The band opts for a more classic Metal minded approach down the rhythmic, Maiden-esque “Phoenix” with melodic undertones. It is also here that singer Diego Trejo shines, sounding like a beefed up Bruce Dickinson gone PowerMetal. Trejo has a great, muscular voice with a lot of boost, high notes and an appearance that has old-school U.S. PowerMetal written all over, as evidenced on the crunching impact groovster “Insanity”. Overall, material sticks straight away and comes with tons of power whilst still retaining a good sense for melody, as spotlighted on the more emotive laden and darker-sphered, Alter Bridge esque tunes “Dust From Hell” and the semi-acoustic layered “Bird Flying High”. In all, an entertaining, versatile and complete album worth investigating. Proper.
Paul van der Burght
label: private
songs: We Are Masters / Flesh / Phoenix / Insanity / Dust From Hell / Boo / High Flying Bird / Blood Heroes //
web: https://www.facebook.com/LeiderMetal
Third full-lengther by Mexican Metalers Leider, gelling a mix of Pantera, Megadeth and Alter Bridge, sauced with anthemic, Euro-PowerMetal refrains and thumping, 90's Powergroove riffage. The riff-monster that is “We Are Masters” captures all this over a grinding, double-bass drummed mod / mid-tempo drive. The band pretty much sticks to the slower segment of tempos to accommodate the bobbing riff-based grooves that fuel most of the material on this 8 songer. The band opts for a more classic Metal minded approach down the rhythmic, Maiden-esque “Phoenix” with melodic undertones. It is also here that singer Diego Trejo shines, sounding like a beefed up Bruce Dickinson gone PowerMetal. Trejo has a great, muscular voice with a lot of boost, high notes and an appearance that has old-school U.S. PowerMetal written all over, as evidenced on the crunching impact groovster “Insanity”. Overall, material sticks straight away and comes with tons of power whilst still retaining a good sense for melody, as spotlighted on the more emotive laden and darker-sphered, Alter Bridge esque tunes “Dust From Hell” and the semi-acoustic layered “Bird Flying High”. In all, an entertaining, versatile and complete album worth investigating. Proper.
Paul van der Burght
DARK AGE – 2017 re-issue '84 “Dark Age”
label: No Remorse records
songs: Metal Axe / Tales Of Medusa / Rock Revelation / The Execution / Messenger To Ascheron / Warrior / Viper / Dark Age (bonus track) //
web: www.noremorse.gr
Re-issue of this '84 classic that was up there with the better U.S Metal releases, but somehow got clouded in obscurity. This album is the only thing the band ever vinylized, and captures an Epic sphered concept that moves somewhere in between Priest, Liege Lord, Siren, Omen and early Savatage. Music is largely guitar oriented, funnelled through multiple fillers, hooks, plus some cool mobility bass-lines (“Tales Of Medusa”); all of which peak on the mid-paced and guitar-showered “Warrior” that comes with synchronized guitar / bass lines and plenty of twin melodies. There is plenty of shape shifting and detail in the entirety of the set, and most prominently found on the Epic / Progressive phased “Dark Age”. The vocalage of .... is superb, and Metal by all means, delivering a variable, roughened voice a la Priest that is loaded with upper-range siren yells, topping on the driven up-tempo Metaler “Messenger To Ascheron” and the rhythmic “Warrior”. Heaviest and fastest offering on the disc is “Metal Axe”; a driven, double-bass drummed U.S Metal speedster that sounds much like a Judas Priest / Hallow's Eve get-together, followed by the driven, upbeat Metaler “Viper”. In all, one very complete and convincing U.S.Metal offering from a most promising band that had all the qualities but never really made it.
Paul van der Burght
label: No Remorse records
songs: Metal Axe / Tales Of Medusa / Rock Revelation / The Execution / Messenger To Ascheron / Warrior / Viper / Dark Age (bonus track) //
web: www.noremorse.gr
Re-issue of this '84 classic that was up there with the better U.S Metal releases, but somehow got clouded in obscurity. This album is the only thing the band ever vinylized, and captures an Epic sphered concept that moves somewhere in between Priest, Liege Lord, Siren, Omen and early Savatage. Music is largely guitar oriented, funnelled through multiple fillers, hooks, plus some cool mobility bass-lines (“Tales Of Medusa”); all of which peak on the mid-paced and guitar-showered “Warrior” that comes with synchronized guitar / bass lines and plenty of twin melodies. There is plenty of shape shifting and detail in the entirety of the set, and most prominently found on the Epic / Progressive phased “Dark Age”. The vocalage of .... is superb, and Metal by all means, delivering a variable, roughened voice a la Priest that is loaded with upper-range siren yells, topping on the driven up-tempo Metaler “Messenger To Ascheron” and the rhythmic “Warrior”. Heaviest and fastest offering on the disc is “Metal Axe”; a driven, double-bass drummed U.S Metal speedster that sounds much like a Judas Priest / Hallow's Eve get-together, followed by the driven, upbeat Metaler “Viper”. In all, one very complete and convincing U.S.Metal offering from a most promising band that had all the qualities but never really made it.
Paul van der Burght
|
|
NARBELETH – 2017 “Indomitvs”
label: Folter records
songs: The Distortion Of Life / When The Sun Has Died / The Lower Point Of The Star / Herald Of The Dawn / The First To Rise / Via Profane Crafts / Sinister Laberynths Of Human Soul / Dadmellin (Arckanum cover) //
web: https://www.facebook.com/Narbeleth.BlackMetal/
Album #04 by Cuban one mand band Narbeleth, featuring some old-school BlackMetal with a 90's / Nordic twist, and the classic HardCore root that typified the earliest incarnations of the genre. This is best witnessed on “The Lower Point Of The Star” and the Doom infused “Via Profane Crafts” that also count for the fastest moments on the disc along with the Arckanum cover “Dadmellin”. Songs are mainly moderately / mid paced with accelerated parts / blast beats and those typical 'high, low and reversed' melodic / Nordic style rhythm riffs. The Nordic thing also comes off the melo-dramatic atmosphere and programming that is dressed with gruff and raspy, mid-tone BlackMetal vocals. There's a lot of double-bass drummage running underneath the material, although this gets a bit buried in the mix. Songs are quite long, averaging 4+ minutes, up to 6+ minutes with “Sinister Laberynths Of Human Soul”. “Indomitvs” is one convincing set of songs with its multi-instrumentalist and singer, Lord Dakkar, perfectly replicating the Scandinavian sound from the other side of the globe! Strong.
Paul van der Burght
label: Folter records
songs: The Distortion Of Life / When The Sun Has Died / The Lower Point Of The Star / Herald Of The Dawn / The First To Rise / Via Profane Crafts / Sinister Laberynths Of Human Soul / Dadmellin (Arckanum cover) //
web: https://www.facebook.com/Narbeleth.BlackMetal/
Album #04 by Cuban one mand band Narbeleth, featuring some old-school BlackMetal with a 90's / Nordic twist, and the classic HardCore root that typified the earliest incarnations of the genre. This is best witnessed on “The Lower Point Of The Star” and the Doom infused “Via Profane Crafts” that also count for the fastest moments on the disc along with the Arckanum cover “Dadmellin”. Songs are mainly moderately / mid paced with accelerated parts / blast beats and those typical 'high, low and reversed' melodic / Nordic style rhythm riffs. The Nordic thing also comes off the melo-dramatic atmosphere and programming that is dressed with gruff and raspy, mid-tone BlackMetal vocals. There's a lot of double-bass drummage running underneath the material, although this gets a bit buried in the mix. Songs are quite long, averaging 4+ minutes, up to 6+ minutes with “Sinister Laberynths Of Human Soul”. “Indomitvs” is one convincing set of songs with its multi-instrumentalist and singer, Lord Dakkar, perfectly replicating the Scandinavian sound from the other side of the globe! Strong.
Paul van der Burght
|
|
ABANDONED SOULS – 2017 “Make It Last”
label: Fiend records
songs: Prove It / Make It Last / Best Of Me / Stand Out Front / So Through //
web: http://www.abandonedsouls.com/
“Make It Last” by Canada's “Abandoned Souls” is a full on throwback to the 90's Alternative HardRock / Metal era. Key features are the 'meaty' riffs, the muscular lead vocals and the groove element, bobbing on either moderate or mid-tempo drives. This combination allows for sticky themes and instant access, as witnessed on the groove monsters “Prove It” and “Best Of Me”. There is a certain connection with Alice In Chains in the vocals choirs and double sung / dubbed lead lines, as well as the thickness of the riffs, though Abandoned Souls have a 'lighter', more melodic minded approach, and less of a downtoned mood. The vocalage of James Todd compliments the music nicely, delivering a voice and tone that moves somewhere in between Alter Bridge and Winger down the more classic Mainstream – meets – Alternative PowerBallad that is “So Through”. Songs are caked with tasty guitarwork that goes in to 'flash' mode down the HardRock minded “Stand Out Front”. In all, “Make It Last” is one fine display of guitar / groove oriented music that rocks from start to finish.
Paul van der Burght
label: Fiend records
songs: Prove It / Make It Last / Best Of Me / Stand Out Front / So Through //
web: http://www.abandonedsouls.com/
“Make It Last” by Canada's “Abandoned Souls” is a full on throwback to the 90's Alternative HardRock / Metal era. Key features are the 'meaty' riffs, the muscular lead vocals and the groove element, bobbing on either moderate or mid-tempo drives. This combination allows for sticky themes and instant access, as witnessed on the groove monsters “Prove It” and “Best Of Me”. There is a certain connection with Alice In Chains in the vocals choirs and double sung / dubbed lead lines, as well as the thickness of the riffs, though Abandoned Souls have a 'lighter', more melodic minded approach, and less of a downtoned mood. The vocalage of James Todd compliments the music nicely, delivering a voice and tone that moves somewhere in between Alter Bridge and Winger down the more classic Mainstream – meets – Alternative PowerBallad that is “So Through”. Songs are caked with tasty guitarwork that goes in to 'flash' mode down the HardRock minded “Stand Out Front”. In all, “Make It Last” is one fine display of guitar / groove oriented music that rocks from start to finish.
Paul van der Burght
UNDER ASSAULT – 7” “Possessed By Steel”
songs: Possessed By Steel / Necrobutcher
label: Witches Brew
web: http://www.facebook.com/pages/Under-Assault/477993742219672
Under Assault, from Paraguay, came into existence in 2011 with the aim to play 80's inspired Thrash Metal. This 2-songer clearly is a throwback to the mid-late 80's, phasing U.S Speed and ThrashMetal. If anything, this thing sounds kind of like Heathen – meets – Exodus. It is the agility staccato rhythm riffage and the tempos that address to Heathen, whilst the snare drummed rhythm section, the backing shouts and the snappy, talk-type lead vocals are Thrash by all means. Both songs follow the same speed driven routine with a 'pause' passage and a balanced, Metallic inspired guitar solo thrown into “Necrobutcher”. This is one energetic, easy access Speed / Thrash happening in the traditional styles. Cool
Paul van der Burght
songs: Possessed By Steel / Necrobutcher
label: Witches Brew
web: http://www.facebook.com/pages/Under-Assault/477993742219672
Under Assault, from Paraguay, came into existence in 2011 with the aim to play 80's inspired Thrash Metal. This 2-songer clearly is a throwback to the mid-late 80's, phasing U.S Speed and ThrashMetal. If anything, this thing sounds kind of like Heathen – meets – Exodus. It is the agility staccato rhythm riffage and the tempos that address to Heathen, whilst the snare drummed rhythm section, the backing shouts and the snappy, talk-type lead vocals are Thrash by all means. Both songs follow the same speed driven routine with a 'pause' passage and a balanced, Metallic inspired guitar solo thrown into “Necrobutcher”. This is one energetic, easy access Speed / Thrash happening in the traditional styles. Cool
Paul van der Burght
BINARY CREED – 2017 “A Battle Won”
label: Rockshot records
songs: Servants / Lurking In The Shadows / In A Time To Come / The Fallen King / The Ones To Bleed / Safer Than Now / A Better Man / Black Storm / These Hands / Journey Without End //
web: https://www.facebook.com/binarycreed/
Follow-up to the “Restitution” album. Swedish Metalers Binary Creed showcase a brand of 90's styled Progressive Metal with the occasional touch upon PowerMetal, spotlighted on the album's heaviest piece “Lurking In The Shadows”. Throughout the work, there is this typical, melancholic / dramatic atmosphere that surrounds both the vocalage and instrumentation in an almost Goth like appearance on the moderately paced “In A Time To Come”. Binary Creed follow the traditions of the genre, addressing to a mere moderately / mi-tempo drive with double-bass drummed accelerations, flashy guitar chops and alternating mobility/ key-note synths. The vocalage of Andreas Stoltz is in the centre of attention throughout the disc, and the prime Progressive mover, delivering a Geoff Tate (Queensryche) inspired tone and style with a melange of (upper) mid-range power and melody, topped with higher peaks and a good, allround vibrato. Material is not overdone in the Progressive corner and actually comes out best on the more Metal minded, catchy up-tempo “Safer Than Now” with the vocals peaking in delivery and harmonies. “A Battle Won” is a well defined and well played commodity; maybe a bit on the textbook side of things performance and concept wise but that usually comes with the territory.
Paul van der Burght
label: Rockshot records
songs: Servants / Lurking In The Shadows / In A Time To Come / The Fallen King / The Ones To Bleed / Safer Than Now / A Better Man / Black Storm / These Hands / Journey Without End //
web: https://www.facebook.com/binarycreed/
Follow-up to the “Restitution” album. Swedish Metalers Binary Creed showcase a brand of 90's styled Progressive Metal with the occasional touch upon PowerMetal, spotlighted on the album's heaviest piece “Lurking In The Shadows”. Throughout the work, there is this typical, melancholic / dramatic atmosphere that surrounds both the vocalage and instrumentation in an almost Goth like appearance on the moderately paced “In A Time To Come”. Binary Creed follow the traditions of the genre, addressing to a mere moderately / mi-tempo drive with double-bass drummed accelerations, flashy guitar chops and alternating mobility/ key-note synths. The vocalage of Andreas Stoltz is in the centre of attention throughout the disc, and the prime Progressive mover, delivering a Geoff Tate (Queensryche) inspired tone and style with a melange of (upper) mid-range power and melody, topped with higher peaks and a good, allround vibrato. Material is not overdone in the Progressive corner and actually comes out best on the more Metal minded, catchy up-tempo “Safer Than Now” with the vocals peaking in delivery and harmonies. “A Battle Won” is a well defined and well played commodity; maybe a bit on the textbook side of things performance and concept wise but that usually comes with the territory.
Paul van der Burght
MIDNIGHT MESSIAH – 2017 “Led Into Temptation”
label: private
songs: Second Coming / Led Into Temptation / The Sinner Must Die / Hellbound / The Merry Widow / Go To the Light / Return Of The King / The Dark Lands / While Heaven Bleeds / Right Place, Wrong Time / King Of The Night //
web: https://www.facebook.com/MidnightMessiah
Second offering by this UK outfit, featuring a whole cast of NWOBHM veterans from bands such as Weapon, Tytan, Desolation Angels and Elixir. As such, one could easily assume that “Led Into Temptation” is a mere NWOBHM affair. Truth of the matter is that there's only but two songs that fall into this category, respectively being “The Sinner Must Die”, which sounds like a modern adaptation of the genre, merging Maiden with Alter Bridge over some trademark NWOBHM, and the mid-paced titletrack which also happens to be one of the 'darker' sphered tunes on the disc, along with “While Heaven Bleeds”. There's also several occasions the band connects with the later, melodic laden Saxon material, as evidenced on “The Merry Widow” and “Go To The Light”, partly due to the fairly identical, melodic edged vocalage. Tagging their concept themselves as 'True Classic Rock / Metal', the variety continues in exactly this style with the classic, 70's HardRocker “Hellbound”, and the Lizzy-esque “Right Place, Wrong Time” plus the Boogie-based up-tempo Rocker “King Of The Night”. The heaviest piece – and strongly contrasting with the general set – is the fast paced U.S PowerMetaler “Second Coming”, tending towards early Omen in overall appearance. All goes to show that Midnight Messiah have the diversity thing high up concept wise. Structural wise, the band opted for a rather linear approach with the main chunk of numbers being patterned upon a mid-tempo drive and straight-forward, easy going themes. Neat and Nice.
Paul van der Burght
label: private
songs: Second Coming / Led Into Temptation / The Sinner Must Die / Hellbound / The Merry Widow / Go To the Light / Return Of The King / The Dark Lands / While Heaven Bleeds / Right Place, Wrong Time / King Of The Night //
web: https://www.facebook.com/MidnightMessiah
Second offering by this UK outfit, featuring a whole cast of NWOBHM veterans from bands such as Weapon, Tytan, Desolation Angels and Elixir. As such, one could easily assume that “Led Into Temptation” is a mere NWOBHM affair. Truth of the matter is that there's only but two songs that fall into this category, respectively being “The Sinner Must Die”, which sounds like a modern adaptation of the genre, merging Maiden with Alter Bridge over some trademark NWOBHM, and the mid-paced titletrack which also happens to be one of the 'darker' sphered tunes on the disc, along with “While Heaven Bleeds”. There's also several occasions the band connects with the later, melodic laden Saxon material, as evidenced on “The Merry Widow” and “Go To The Light”, partly due to the fairly identical, melodic edged vocalage. Tagging their concept themselves as 'True Classic Rock / Metal', the variety continues in exactly this style with the classic, 70's HardRocker “Hellbound”, and the Lizzy-esque “Right Place, Wrong Time” plus the Boogie-based up-tempo Rocker “King Of The Night”. The heaviest piece – and strongly contrasting with the general set – is the fast paced U.S PowerMetaler “Second Coming”, tending towards early Omen in overall appearance. All goes to show that Midnight Messiah have the diversity thing high up concept wise. Structural wise, the band opted for a rather linear approach with the main chunk of numbers being patterned upon a mid-tempo drive and straight-forward, easy going themes. Neat and Nice.
Paul van der Burght